WIA_ISSUE2_2023

www.panelsfurnitureasia.com 

ISSUE 2, 2023 

Performing 

with wood 

Embracing nature in the city: The rise of 

wooden structures in urban landscapes 

Everything done right from an early stage

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CONTENTS 

14 

26 33 

2 WOOD IN ARCHITECTURE • ISSUE 2 – 2023

CONTENTS 

04 Editor’s Note 

05 News 

THE BIG PICTURE 

14 Performing with wood 

MARKET REPORT 

24 CLT market to reach 

US$2.6bn by 2028: 

MarketsandMarkets 

SUSTAINABILITY 

26 Building green: Meeting 

the demand for sustainable 

solutions with sustainable 

design 

29 Embracing nature in the 

city: The rise of wooden 

structures in urban 

landscapes 

MATERIALS AND 

TECHNOLOGY 

33 Re-emerge pavilion: 

A collaboration between 

AA and Hassell 

36 Canadian wood elevates 

Nativ restaurant’s design in 

Pune, India 

38 Driving down the cost of 

entry into mass timber 

design 

ENGINEERED WOOD 

40 TurboHawk mini-finger 

cutterhead: Flexible and quality 

CLT production 

41 Everything done right from an 

early stage 

DESIGN 

44 Sanding with SCM 

46 New Innovus collection finds 

inspiration in nature 

48 Redefining luxury hospitality 

with Clint Nagata 

50 Japanese furniture: What sets its 

design and quality apart? 

STRUCTURAL ELEMENTS 

53 The PULO market 

FLOORING 

56 Digital printing technology for 

flooring 

58 Head-end profiling of 

floorboards with Marinus 

Powermax Endmatcher 

FIT-OUTS 

59 Sandra Weil store 

61 Villa MKZ 

63 Events Calendar 

64 Index of Advertisers 

41 

48 

53 

59 

WOOD IN ARCHITECTURE • ISSUE 2 – 2023 3

EDITOR’S NOTE 

Time for 

a wood renaissance 

Common detractors of wooden or 

mass timber buildings often cite their 

susceptibility to catching fire or their 

weakness towards harsh weather 

conditions as reasons for not pivoting 

away from steel or carbon structures. One 

cannot blame them: It has been instilled in 

us through popular culture — look at what 

happened to one of the three little pigs 

whose house was built with sticks — and 

images of rackety, old wooden houses that 

wood is weaker and more error-prone in 

comparison to its carbon-heavy cousins. 

Is that not why this magazine exists? We 

want readers out there to start getting 

familiarised with images of mass timber 

buildings, to get familiar with how wood 

technology has advanced to become better 

than steel or concrete. 

For instance, our column, The Big Picture, 

showcases wood in their varied and 

marvellous uses, how they can be erected 

as skyscrapers or as wide-spanning 

structures that can cover up to several 

football fields. The theme for this issue 

is Theatres, featuring theatre halls or 

buildings with the theatre itself made with 

mass timber or solid wood like cherry and 

oak (p.14). Wood is already known for its 

acoustic properties, long associated with 

string instruments, so how will it bolster the 

structural, aesthetic and technical qualities 

of theatres, auditoriums, and concert halls? 

We also hope to demystify the process of 

building or designing with wood. A case 

study by Dr Joaquim Mohr explores how 

automated technology for prefabricated 

wall elements from timber construction 

machine manufacturer WEINMANN has 

helped Haas Fertigbau to achieve more 

flexible production (p.41). Our interview with 

designer Clint Nagata from BLINK Design 

Group sheds light on hospitality design: How 

wood has played a part in lending a sense of 

sophistication to luxury resorts and hotels 

(p.48). Software solutions like CLT Toolbox 

also aim to help simplify mass timber design, 

lowering the barriers to entry (p.38). 

By 2028, the global cross-laminated timber 

(CLT) market is projected to hit US$2.6bn 

(p.24). It is a ripening market with lots of 

potential, even if housing and furniture 

markets across the world are not doing 

too great now. The vanguard of the 

construction industry is indisputably wood 

and mass timber, and we, together with the 

whole woodworking community, will help 

to enable that. 

EDITOR | YAP SHI QUAN 

WOOD IN ARCHITECTURE 

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NEWS 

PROTOTYPE AI METHOD FOR SUSTAINABLY 

PRODUCING CLT UNVEILED 

Maestro, a new constructiontechnology 

startup born out of the 

design and innovation office Carlo 

Ratti Associati (CRA), is unveiling the 

prototype for A.I. Timber, a new method 

for sustainable cross-laminated timber 

(CLT) production that uses artificial 

intelligence (AI) to preserve the original 

contour of each tree. 

A proof-of-concept structure, 

developed along with students and 

researchers from Massachusetts 

Institute of Technology (MIT) and Tongji 

University, was on display at the Digital 

Futures exhibition in Shanghai, China 

until the fall. 

As the construction industry works 

to reduce its emissions, with cement 

production alone responsible for 8% of 

global CO2, mass timber has emerged 

as an alternative for sustainable 

construction. 

However, the industrial sawing 

process of cutting unique trees into 

standardised panels generates a large 

amount of wood waste. 

Mykola Murashko, the 23-year-old 

Cambridge graduate who co-founded 

Maestro with Carlo Ratti, director of the 

MIT Senseable City Lab and founding 

partner at CRA. 

“Because engineered wood products 

are lightweight, renewable and 

dimensionally stable, we can design 

an entire building in our factory then 

ship the flatpack of its components to 

construction sites around the world. 

“Maestro wants to revolutionise how 

we build, and that dream is rooted in 

innovations like A.I. Timber.” 

Maestro is a newly-incorporated 

startup that aims to revolutionise the 

construction industry with bespoke 

prefabrication. 

After years of experiments in 

construction and building materials 

at CRA, Maestro uses technology to 

connect design and manufacturing, 

allowing a European supplier network 

to manufacture custom parts at a 

massive scale and create tailor-made, 

shippable buildings from scratch. 

“Wood is one of the oldest building 

materials we have, and A.I. Timber will 

let us use it more sustainably,” said Ratti. 

“AI could reduce wood waste in CLT 

production by up to 30%, but that is only 

one of the benefits. It is also beautiful: The 

irregular geometry celebrates the original 

shape of the tree. We are using the artificial 

to bring out the brilliance of the natural.” 

According to CRA, the first prototype of A.I. 

Timber was produced in Shanghai earlier 

this summer as part of the DigitalFUTURES 

conference organised by Tongji University 

professor Philip Yuan. 

During a one-week workshop Murashko 

and Nikita Klimenko of MIT instructed a 

team of international researchers 

on the use of A.I. Timber, building a 

proof-of-concept structure a small, 

triangular pavilion visitors can interact with. 

The exhibition was open at Tongji 

University’s gallery until 15 Sep 2023. WIA 

A.I. Timber therefore offers an 

alternative. Rather than reducing 

irregular trees into straight lines, 

Maestro uses AI and digital machining 

tools to scan a set of raw logs, flat 

saw them into boards, and identify the 

optimal sequence to fit them together. 

The process results in timber panels 

with tessellating boards which match 

one another like puzzle pieces, while 

shaving off as little of the tree as 

possible, according to a press release 

by CRA. 

“Timber is not just a substitute for 

concrete; it unlocks new possibilities 

for prefabricated construction,” said 


NEWS 

SCHULER CONSULTING’S 

EXPERIENCE AT LIGNA 2023 

With many questions in their 

luggage, various representatives 

from the wood and furniture 

industry visited the Schuler 

Consulting team at LIGNA 2023. 

The central concern of furniture 

manufacturers was to successfully 

plan the next investment steps, 

while the wood construction 

industry was looking for concrete 

measures for the shortage of 

skilled workers. 

SHORTAGE OF SKILLED 

WORKERS 

Schuler Consulting was 

represented at LIGNA for the 

first time in 2023 with a team of 

experts for timber construction, 

and they received visitors from 

around 40 countries during the fair. 

The cross-section of visitors to 

the timber construction stand 

had all facets from small to large: 

Both the classic carpenter and 

investors planning to set up their 

own production facilities visited 

the trade fair to find out about new 

technologies, trends and services. 

As such, the timber construction 

team at Schuler offers its support 

for this challenge. The goal is to start 

exactly where things are getting tight 

in the day-to-day business and to 

create practical solutions so that the 

employees can work more efficiently. 

INVESTING IN THE 

INTERNATIONAL 

FURNITURE INDUSTRY 

The international furniture industry 

showed particular interest in 

the consulting service, Strategic 

Production Development — which is to 

say, the new construction, conversion 

or expansion of their production. 

According to Schuler, many 

companies want to continue to 

grow and are currently facing the 

next investment steps, but new or 

replacement investments must be 

planned more than ever for the long 

term and sustainably. 

Those who were reaching the capacity 

limits of their production usually 

brought with them many questions 

about the right strategy, which were 

discussed in one-to-one talks during 

LIGNA. 

Interactive best practice production 

layouts were used for this purpose, 

according to Schuler. The 3D renderings 

showed what options were available in 

production planning and development. 

A second focus was on the topics 

of digitalisation and production 

optimisation. The on-site installation 

of Schuler’s Digital Value Stream 

Optimization was met with lively 

interest among the visitors. 

Using a coffee machine as a simulation, 

Bastian Schulz, team leader Industry 

4.0 at Schuler, showed how the tool 

could be used to connect any machine 

to the digital value stream to obtain 

process data. 

In production, process data can thus 

be obtained that provide relevant KPIs 

such as throughput time, performance, 

availability and stocks. 

Together with other available 

production data, this data flows into 

a value stream dashboard so that 

manufacturers can gain transparency 

about their processes and optimise 

them in a targeted manner. WIA 

Schuler Consulting 

specialises 

in optimising 

production 

processes for the 

wood construction 

and furniture 

industries 

The most frequent questions 

Schuler received revolved 

around the topic of optimisation. 

Currently, many companies are 

looking for concrete measures 

for digitalisation and automation 

to counter the shortage of skilled 

workers. 

However, there is often not enough 

time in the day-to-day business to 

develop and implement solutions. 

At the same time, the construction 

tasks are growing but not with the 

number of employees to manage 

these tasks in most cases. 


NEWS 

“WORLD’S LARGEST 

WOODEN CITY” TO BE BUILT 

IN STOCKHOLM, SWEDEN 

The “world’s largest wooden city”, as claimed 

by developer Atrium Ljungberg, is now 

currently in the works, slated to be built in city 

of Sickla, Stockholm, Sweden and designed by 

architecture studios Henning Larsen and White 

Arkitekter. 

Dubbed Stockholm Wood City, it will have 

7,000 office spaces and 2,000 homes that 

cover around 250,000m 2 . 

According to Atrium Ljungberg, the city will 

offer a vibrant, urban environment with a mix 

of workplaces, housing, restaurants and shops. 

The real estate industry is crucial in the green 

transition, as buildings account for as much as 

40% of the world’s 

CO2 emissions. 

Modern wooden 

construction is a 

hot topic of discussion globally, but 

completed projects so far are often 

individual buildings or blocks. 

The advantages of wooden buildings 

are many, both for the environment 

and for people’s health and wellbeing. 

Among others, the New European 

Bauhaus have in recent years pushed 

for increased wooden construction, but 

old conventions and beliefs have slowed 

down development. 

Rendered image of what Stockholm Wood City might be like (Image: Atrium 

Ljungberg/Henning Larsen) 

In a country where energy supply and 

efficiency are high up on the national agenda, 

the project will focus on self-produced, 

stored and shared energy. By investing in 

resource-efficient construction methods and 

circular material flows, Atrium Ljungberg 

wants to change the role of the urban 

developer. 

The first sod is reportedly planned to be 

turned in 2025, and the first buildings are 

expected to be completed in 2027. WIA 


NEWS 

CHINESE UNIVERSITY COMPLETES MODULAR 

CLT STRUCTURE SHAKING TABLE TEST 

According to Canada Wood China, Tongji 

University’s College of Civil Engineering, led 

by Prof Xiong Haibei, recently achieved a 

milestone with the completion of the shaking 

table test for a modular cross-laminated 

timber (CLT) structure. 

The shaking table test assesses the seismic 

performance of structures. Prof Xiong’s team 

introduced a structure system known as FaM 

(Fire and Movement), which is a hybrid building 

system that combines modular wood boxes 

with a concrete frame-and-core structure. 

This system allows for the incorporation of 

modular units, which can be constructed 

off-site using light wood frame, mass timber, or 

glue-laminated timber (glulam) post and beam 

structures, and placed on the concrete slab. 

The main concrete structure serves as the 

primary load-bearing element, supporting 

the overall structural weight. It possesses 

high stiffness in the vertical direction to carry 

the load and exhibits seismic resistance in the 

horizontal direction. 

The substructure provides load-bearing 

capacity and seismic resistance for the modular 

units themselves. A unique feature of the FaM 

system is the incorporation of a concrete floor 

slab with a concrete core on every third floor. 

This design ensures compliance with fire 

protection requirements and enables safe 

evacuation in high-rise wooden structures, 

as claimed by Canada Wood China. By 

implementing this approach, the FaM system 

not only enhances fire safety but also 

reduces the cost of fire protection in wooden 

constructions. 

The FaM system aims to provide a promising 

solution for achieving efficient, sustainable, 

and adaptable construction practices in various 

architectural projects. 

The team behind developing FaM (Image: Canada 

Wood China) 

Canada Wood China reported that the modular 

CLT structure performed “exceptionally” 

under the shaking table tests, especially 

when combined with new energy dissipating 

connectors. The modular CLT structures used 

in the test were constructed using Canadian 

lumber. 

Under varying seismic loads with different 

spectral characteristics, the system exceeded 

the team’s preset goals. The successful test 

showcased the structural integrity and stability 

of the modular CLT design, highlighting 

its potential for widespread adoption in 

seismic-prone regions. WIA 

METSÄ GROUP TO EXPAND KERTO 

LVL PRODUCTION WITH NEW 

MILL IN ÄÄNEKOSKI, FINLAND 

Metsä Group has announced plans to build a 

new Kerto laminated veneer lumber (LVL) mill in 

Äänekoski, Finland, for the production of beam 

and panel products used in the construction 

industry. 

The value of the investment is €300m, and the 

mill is expected to begin production in late 2026. 

The mill’s annual production capacity is 

approximately 160,000m 3 , which represents a 

50% increase in the company’s total Kerto LVL 

capacity. Kerto LVL production primarily serves 

the construction industry in the European market. 

The new mill will use around 400,000m 3 of log 

procured from Finland. It will be on the Äänekoski 

integrated mill site, which harnesses synergies 

such as energy production, logistics and mill 

services. 

The integrated mills can reportedly utilise 100% 

of the side streams produced in the production 

of Kerto LVL, producing the maximum possible 

added value from the valuable raw material. 

Furthermore, the new mill will have a direct 

employment impact of around 150 new jobs. 

It will also add some 200 person-years to its 

direct value chain. The employment impact 

of the construction phase is estimated to be 

approximately 1,000 person-years. 

Kerto LVL is a construction material which 

combines material efficiency with the high added 

value of wood. Its technical performance makes 

it suitable for versatile construction uses such as 

elements and modular construction. 

“Most of the carbon footprint of construction 

comes from the building materials. The 

construction industry is now seeking more 

sustainable alternatives, so we are seeing 

growing interest in construction material based 

on renewable raw materials,” said Jaakko Anttila, 

executive vice-president, Metsä Wood. 

“Thanks to its material efficiency, Kerto LVL is 

a competitive and sustainable solution for the 

increasing use of wood in construction.” 

Metsä Group currently produces Kerto LVL 

products in Lohja and Punkaharju in Finland. WIA 

An illustration of Äänekoski Kerto LVL mill 

(Image: Metsä Group) 


NEWS 

RAUTE RECEIVES €44.6M ORDER TO FRANCE 

Raute Corporation has signed a contract worth 

€44.6m with the Thebault Group in France for 

the technology delivery of a new greenfield 

laminated veneer lumber (LVL) production plant. 

The plant, which will reportedly be the “first 

LVL plant in France”, according to Raute, will 

eventually produce 100,000m 3 of LVL, with 

this agreed delivery covering a first phase at 

70,000m 3 . 

The order for Raute’s technology includes all the 

production processes from veneer peeling to 

LVL billet handling, including extensive service 

package. The lines are a complete solution 

compiled of the latest most automated 

R7-Series technologies. 

The ordered machinery and equipment 

will be delivered during 2024. They will be 

manufactured at Raute’s production units 

in Lahti and Kajaani in Finland, and in the 

company’s partnership network. 

This new plant, which will be in full operation 

in 2026, is part of Thebault’s development 

to extend its offering particularly to the 

construction industry. Driven by a fast-growing 

market, this French production of engineered 

wood products will expand the offer of 

bio-sourced materials contributing to the 

decarbonisation of the building sector. 

“Thebault is our long-term customer, and 

we are very pleased to continue our close 

partnership with them on this new project,” said 

Mika Saariaho, president and CEO of Raute. 

“Raute is committed to provide its latest 

innovations and complete end-to-end expertise 

How the new production plant might look like 

(Image: Raute) 

to build a new world-class LVL plant for 

Thebault.” 

The family-owned Thebault Group produces 

125,000m 3 of plywood annually in France, 

making almost 50% of the total domestic 

plywood production. WIA 


NEWS 

LEITZ PRESENTS SYMPOSIUM ON 

TIMBER CONSTRUCTION 

Christian Straubinger from Taglieber 

Holzbau went in a similar direction. 

For the engineer, the use of wood is 

essential for environmental protection. 

In contrast to the climate killer cement 

material, wood is not a disposable 

product. 

Wood also actively contributes to the 

thermal insulation and energy efficiency 

of a building. This makes building 

materials such as foams unnecessary. 

According to Straubinger, the 

enveloping surface of buildings plays 

a decisive role in people’s wellbeing. 

In wooden buildings, people have a 

different sense of temperature and 

a more emotional connection to the 

building — in other words, a much more 

“species-appropriate” life. 

Entrepreneur Markus Derix introduced 

circular timber construction. This is 

a circular economy in which certain 

The speakers that 

touched on insights 

into modern timber 

construction 

At this year’s Leitz Symposium in 

Oberkochen municipality in Germany, 

the focus was on topics relating to 

modern timber construction. 

Industry and science speakers 

presented new trends and processing 

methods to over 120 guests. 

The symposium touched on topics like 

strategic timber resource management 

and circular timber construction and 

roots. 

Wood as a renewable construction 

material is becoming increasingly 

important and has developed into 

an innovative and highly attractive 

material. The manufacturer of wood 

processing tools believes that it is now 

important to use the opportunities of 

modern timber construction and to 

draw more attention to it. 

A total of eight speakers presented 

possible solutions, current projects, 

development trends, machine 

concepts as well as tools and 

machining strategies at the Leitz 

Symposium. 

Prof Katja Frühwald-König from the 

Ostwestfalen-Lippe University of 

Applied Sciences was the first to 

speak. For her, wood is the building 

material of the future. But not the way 

it is currently used. 

However, the timber construction 

industry must become more 

material-efficient, as wood as a raw 

material is not infinite. Due to climate 

change, it is even necessary to reforest 

the domestic forests. Research 

on particularly climate-resistant 

wood species has therefore gained 

enormous importance. 

building elements made of wood are 

given a second life — meaning to say 

they are not thrown away after use, 

but are converted for further uses 

within existing or new buildings, thus 

making timber construction more 

resource-friendly. 

Prof Dr Jürgen Graf from the Technical 

University of Kaiserslautern was the 

next speaker, answering how the 

construction and dismantling of these 

building elements could be carried out 

smoothly. 

According to him, a simple connection 

technology between the components 

is elementary for a circularly effective 

construction method. In the research 

with his team, Prof Graf relied on a 

reversible connection with so-called 

cone adapters made of pressed 

synthetic resin wood. 

According to Leitz, the symposium 

host also had a hand in this project. 

Leitz developed a special cutter for 


NEWS 

the millimetre-precise cone milling, which 

shortened the machining process by a factor 

of 10 compared to conventional routers. 

Prof Dr Christina Jeschke from Biberach 

University of Applied Sciences explained what 

the buildings of the future might look like from 

the outside, whether with wood, cork, plaster, 

fibre cement, metal or glass. 

Twenty storeys are distributed over a height of 

72m. The completion of Roots in Hamburg’s 

Hafen City is planned for 2024 and will serve 

as “a flagship project for modern timber 

construction in the future”, according to Leitz. 

WIA 

More than 120 guests turned up for the symposium 

Using various examples, the professor 

presented everything that was possible in 

facade design in modern timber construction 

and which materials could be used. 

For her, a change in thinking is already 

necessary in the training of young architects 

and designers so that sustainability aspects 

such as a circularly effective materials 

management are directly considered. 

However, she also pointed out that the 

weathering of wood could be a challenge in 

construction, and therefore it must be planned 

for that the wood would change visually over 

time. 

Luciano Tagliaferri from the Italian machine 

manufacturer SCM and Andreas Kisselbach, 

head of the R&D department at Leitz and 

moderator of the symposium, then introduced 

the technical basics of modern timber 

construction. 

The aim is to eliminate the need for reworking 

the individual building elements on the 

construction sites. This is made possible, for 

example, by modern machine concepts for 

six-sided machining of the components and 

building elements. 

There is now much more to sawing, cutting and 

drilling in timber construction than there was a 

few years ago. For example, it is about complex 

five-axis machining, high-precision drilling in a 

short time and modern cutting strategies. 

At the end of the symposium, Oliver Fried 

from Rubner Holzbau presented on what is 

Germany’s tallest wooden high-rise building 

as of September 2023, Roots, though it is still 

under construction. 


NEWS 

1 2 

DESIGN COLLABORATION ‘REIMAGINE’ 

LAUNCHED AT INDEX MUMBAI 

In a press release by the American 

Hardwood Export Council (AHEC), five 

India architects unveiled their designs 

for the traditional jhoola, an Indian 

swing seat, at a gala launch at INDEX 

Mumbai, which took place at the Jio 

World Convention Centre (JWCC) from 

26-28 May 2023. 

A design collaboration launched 

by AHEC and THINK! Design, the 

REIMAGINE project challenged 

architects Annkur Khosla, Naresh V 

Narasimhan, Prem Nath, Sanjay Puri 

and Sonali & Manit Rastogi to recreate 

that quintessentially Indian piece of 

furniture using American hardwoods. 

This is said to be AHEC’s biggest design 

collaboration to date in India. The 

swings were manufactured by Bram 

Woodcrafting Studio, based in Mysore, 

and with Melbourne-based designer 

Adam Markowitz serving as a mentor 

for the project. 

Speaking at the launch, Roderick Wiles, 

AHEC regional director, said: “Jhoolas, 

which were a common sight in many 

Indian households, seem to have 

fallen out of favour in recent times. 

Nonetheless, they continue to have an 

allure on account of the memories they 

carry. 

“For REIMAGINE, the architects were 

asked to draw on their childhood 

memories of playfulness, their 

teenage years of angst and to temper 

these with ‘grown-up’ elegance in a 

furniture piece for a contemporary 

context — a limited edition, legacy 

piece made out of American 

hardwoods. 

“The architects were given the option 

to select from three species, be it a 

single species or a combination, which 

were American cherry, maple and red 

oak.” 

JHOOLA DESIGNS 

According to Annkur Khosla, the 

inspiration for her design was the 

aspect of weaving and the entire 

process involving the warp and weft of 

threads. Woodworking at its inherent 

level of joinery does not follow this as 

a process and the aim was to explode 

the limitations of woodworking while 

also pushing the limits of the material. 

Sanjay Puri’s swing was designed 

to look monolithic and fluid 

simultaneously with the seat, armrests 

and back merging into each other, 

creating a sculptural look. While it can 

be used as a swing, it is also designed 

to appear as an art form. 

The design thought and inspiration 

behind Sonali Rastogi’s piece was 

primarily focused on addressing the 

shift in communication caused by the 

COVID-19 pandemic. 

With physical distancing measures in 

place, the design aimed to create an 

opportunity for people to reconnect 

with their friends and close mates in 

a safe and socially distanced manner. 

The swing design was chosen as 

it provides a comfortable seating 

arrangement that allows individuals 

to relax and engage in conversation 

while maintaining the necessary 

distance. 

The form of Naresh Narasimhan’s 

swing seat was derived from the 

Veena, a popular element in Hindola 

Raga paintings. Historically, swings 

were often depicted in activities in 

Royal palaces in various forms of 

Indian miniature paintings. Ragamala 

paintings, a form of Indian miniature 

paintings, are a set of illustrative 

paintings of the Ragamala or ‘Garland 

of Ragas’, depicting variations of the 

Indian musical modes called ragas. 

His swing borrows ideas of 

movement, rhythm and asymmetry 

from the Ragamala paintings; the 


NEWS 

3 4 5 

1 Annkur Khosla’s jhoola 

2 Sonali Rastogi’s jhoola 

3 Naresh Narasimhan’s jhoola 

4 Sanjay Puri’s jhoola 

5 Prem Nath’s jhoola 

intent of the form is to be able to choose the 

seating experience on the swing — fun, relaxed 

and playful. 

For Prem Nath, the Indian swing is a feature 

of playful outdoor combination of strings and 

a plank hung from the branches of tree or an 

ornate piece of indoor furniture, which gives 

thrills and gentle joys of swinging motion and 

mood. 

While thinking of his design and in trying to 

reimagine the design for the Indian Swing, 

time and again Prem’s answer was that the 

Indian Swing must look like an ‘Indian Swing’. 

His design has been conceived with neoclassical 

features with soft minimal Indian 

ornamentation. 

The architects were asked to factor in both the 

environmental impact and human health and 

wellbeing when designing the jhoolas. 

While non-wood materials such as metal 

for framing and fixtures, glues, resins and 

coatings needed to be used, AHEC encouraged 

them to consider the environmental impact of 

these materials in the overall design. American 

hardwoods have a low environmental impact, 

and they can act as a carbon store. 

WORKING WITH SOLID TIMBER 

Commenting on his involvement, Markowitz 

said: “Architects by nature of their profession 

need to be generalists in a huge range of 

areas that comprise the built form, and 

as a result often do not have the detailed 

knowledge of working with solid timber, 

which is a material that has great complexity. 

“Solid timber needs to be worked with, 

rather than against. When you try to make 

timber do something timber does not want to 

do, the timber usually wins. 

“Manufacturers therefore have a range of 

very real-world considerations determining 

their decision making. They want to make 

things quickly, efficiently and in a way that 

means it will hold together for a long time 

without any problems. 

“However, sometimes the strongest, 

most efficient and longest-lasting 

solution does not deliver the best design 

outcome. Mediating between these two 

sometimes polar approaches of design 

and manufacturing can be challenging 

and requires flexibility and agility on the 

part of the designer, and sensitivity and an 

understanding of the bigger picture from the 

manufacturer.” 

Sylvia Khan, founder and creative, THINK! 

Design, said: “Curating and executing the 

initiative in India has been both exhilarating 

and traumatic, wonderful to see the concept 

unfold and gain form while undertaking the 

activity in the Indian milieu, with its several 

attendant challenges. But finally, such a 

sense of accomplishment and sheer joy and 

pride in what we have managed to pull off, 

together.” 

“Working with the AHEC team on the 

REIMAGINE project has been an absolute 

pleasure and a proud moment for the 

Bram Woodcrafting Studio team,” added 

Bram Rouws, founder and director, Bram 

Woodcrafting Studio. 

“To have indirectly worked on these five 

beautiful designs, it was amazing to see the 

final product come together, and we are 

proud of what we had achieved.” 

“With REIMAGINE, our goal was to engage 

the A+D community and the public at large in 

the appreciation of sustainable hardwoods, 

of which the US is a leading supplier,” Wiles 

commented. 

“Bringing together the creativity of some of 

India’s most eminent architects, we wanted 

to showcase the beauty of their work and the 

loveliness and immense capabilities of the 

hardwoods that have been used.” 

AHEC would also like to acknowledge Abenaki 

Timber Corporation and Costaawoods for 

providing the American hardwood lumber 

needed for the project. WIA 


BIG PICTURE 

Performing 

with wood 

14 WOOD IN ARCHITECTURE • ISSUE 2 – 2022 2023

BIG PICTURE 

Be it for musical, dance, or theatrical performances, theatres and its 

cousins, auditoriums and halls, must be durable, acoustically sound, 

beautiful, and in some cases, sophisticated. How can wood rise up 

to the occasion and serve all these purposes? 

Image: Adam Scott 

WOOD IN ARCHITECTURE • ISSUE 2– 2023 15

BIG PICTURE 

1 

A new 

lease of life 

PROJECT: The Mercury Store 

ARCHITECTS: CO Adaptive Architecture 

STRUCTURAL ENGINEERS: 

ADOF Structural Engineers 

ACOUSTIC DESIGNERS: Charcoal Blue 

SPRUNG-WOOD FLOORING CONSULTANT 

AND FABRICATOR: Hudson Scenic 

PHOTOGRAPHY: Naho Kubota 

CONSTRUCTION PHOTOGRAPHY: 

CO Adaptive 

Brooklyn-based architectural practice 

CO Adaptive Architecture has transformed a 

12,700sqft former metal foundry, previously 

used as offices, into The Mercury Store, a new, 

light-filled developmental space for theatre 

artists. This adaptive reuse project updates 

and opens the original double A-frame, 

timber-and-brick building by repurposing 

removed elements as the basis for new 

architectural features. 

Wood is the project’s dominant material: 

Old longleaf pine timber was reconstituted 

while new insertions were made from crosslaminated 

timber (CLT) which has a negative 

carbon footprint compared to carbon emitting 

materials like steel and concrete, therefore 

meeting CO Adaptive’s low-carbon design 

commitment. The project represents what 

is said to be the first use of CLT on a fully 

commercial building in New York City when it 

was completed in 2022. 

“This is the first project in New York City to use 

mass timber to transform an adaptive reuse 

building, and we hope it will lead by example, 

exemplifying the capacity of mass timber to 

simultaneously reduce our embodied carbon 

and reinvigorate our ageing building stock,” 

said CO Adaptive co-principal Ruth Mandl. 

CO Adaptive began the project soon after 

the client, The Mercury Store, purchased 

the building in 2017. Dating to 1902 and 

located in Brooklyn’s Gowanus Canal district, 

it had three previous lives: First, as the Royal 

Metal Furniture Company foundry; next, as a 

warehouse and storage facility; and prior to 

this renovation, as highly compartmentalised 

art studios and office space. Historically home 

to heavy industry, Gowanus district is currently 

undergoing a transformation catalysed by 

remediation efforts and substantial rezoning 

that allows for denser residential, commercial, 

and cultural sites. 

“Within the context of this evolving 

neighbourhood, our clients engaged us to 

design a space for creative expression through 

the sensitive transformation of a century-old 

building that recalls the community’s past,” 

said CO Adaptive co-principal Bobby Johnston. 

With this, CO Adaptive set out to restore 

the character of the heavy timber building, 

exposing and honouring its substantial wood 

trusses and reinforcing the double A-frame, 

while also adapting the building to meet the 

new programme. After years as an industrial 

and studio space, the building interior was 

highly compartmentalised and repairs 

were neglected. In response, the architects 

transformed it into an interconnected, 

spacious, and flexible environment for theatre 

rehearsals and performances. 


BIG PICTURE 

2 

3 

1 The architects set out to restore the character of 

the heavy timber building, exposing and honouring 

its substantial wood trusses and reinforcing the 

double A-frame 

2 The architects transformed The Mercury 

Store into an interconnected, spacious, and 

flexible environment for theatre rehearsals and 

performances 

3 Old longleaf pine timber was reconstituted while 

new insertions were made from CLT 

4 New bleachers provide a central gathering and 

circulation zone that connects the main assembly 

space and breakout rooms to the upper level 

5 Removed wood joists were reinserted as railing 

posts framing the bleacher opening 

warmth of real wood, but also wanted to avoid 

replacing it in the case of a big flood event,” 

explained Mandl. 

4 

“The new space has really fired people’s 

imaginations. It is a beautiful, practical, 

intentional space and it inspires, I hope, the 

artists to respond in the exact same way,” said 

Will Frears, director of The Mercury Store. New 

aluminium exterior cladding blends in with 

the industrial neighbourhood, while a new, 

unobtrusive entrance was carved in from the 

side alley, rather than the street-facing front. 

Additionally, new exterior insulation was 

applied to allow the interior exposure of 

existing brick walls, heavy timber trusses, and 

roof joists — all rich with decades of industrial 

patina — therefore reducing the need for 

additional interior materials and finishes. 

“Insulating the building from the exterior 

allowed us to expose the existing materials’ 

warmth, texture, and history of use; we 

even left intact the construction spray paint 

annotations on the exposed brick walls,” said 

Mandl. “This decision also reduced the need for 

interior finishes — like drywall and paint — that 

a project of this scale would typically require.” 

Across the interior, previously subdivided 

spaces were opened up and existing windows, 

5 

skylights, and clerestory were replaced or 

restored, permitting sunlight to penetrate all 

corners of the large square footprint. In an 

essential gesture, the existing ground floor 

of one half of the building was removed to 

create a lofty, double-height assembly space 

for theatrical rehearsals and performances. 

Exposed bricks bookend this area, while 

substantial floor-to ceiling accordion doors 

fold unobtrusively into one side at the room’s 

centre, available to bifurcate the space as 

needed. 

Responding to the project’s low-lying site and 

potential flood events, new demountable, 

sprung-wood flooring was installed across the 

main performance space, which lies a storey 

below grade. Designed collaboratively with 

Broadway set company Hudson Scenic, the 

system can be disassembled and relocated 

to higher ground by lifting the finish layer to 

access a puzzle of removable 3ft-by-6ft panels. 

“Because of the type of movement — dance, 

performance — happening in that space, it 

was important for the system to be a proper 

sprung-wood floor. The clients wanted the 

On the other half of the building, new 

bleachers provided a central gathering and 

circulation zone that connects the main 

assembly space and breakout rooms to the 

upper level, where two additional smaller 

studios and an administrative area complete 

the programme. Here, a new CLT floor 

structure with glue-laminated timber (glulam) 

columns and girders replaced existing joists 

and subfloor, allowing for large column spans, 

an open layout, and the existing heavy timber 

trusses to remain unaltered and exposed. 

Removed wood joists were reinserted as 

railing posts framing the bleacher opening, 

and an orange metal door, repurposed from 

a different area of the original building, hung 

from a new track separating the administrative 

offices from the main entry and circulation 

space. Above, two new skylights punched into 

the roof and created floods of natural light. 

Overall, the project exemplifies CO Adaptive’s 

commitment to low-carbon design thinking in 

three ways: first, in the evolution of existing 

building stock to support an innovative new 

use, simultaneously reducing demolition 

waste and engaging with the history of 

the site; second, in leveraging low-carbon 

alternatives to standard construction 

practices, with the application of CLT, in 

the required structural insertions; finally, in 

repurposing removed building materials to 

create architectural features, while minimising 

the use of virgin materials. 


BIG PICTURE 

Blending in with the natural world 

Image: David Jensen 

PROJECT: Regent’s Park Open Air Theatre 

LOCATION: London, UK 

ARCHITECTS: Haworth Tompkins Architects 

MASS TIMBER CONSTRUCTION: Eurban 

PHOTOGRAPHY: Haworth Tompkins 

TEXT: PEFC 

Regent’s Park Open Air Theatre in 

London, UK has used cross-laminated 

timber (CLT) certified by the 

Programme for the Endorsement of 

Forest Certification (PEFC) to provide 

a stunning series of sustainable 

buildings. 

Opened in the 1930s, the Regent’s 

Park Open Air Theatre undertook a 

redevelopment project in 2012, using 

CLT for a series of buildings designed 

by Haworth Tompkins Architects and 

erected by Eurban. 

A new backstage area was built, 

comprising an office block, dressing 

rooms, wardrobe area and workshops. 

At the front of the building, there was a 

new box office and sheltered seating 

canopy. 

In 2018, Reed Watts Architects 

brought Eurban back onboard to 

deliver a new two-storey building 

located in a very sensitive site within 

the royal park and conservation 

area. The new building provides 

480m 2 of rehearsal, catering and 

administration space. 

The specification of solid timber 

as the superstructure is a key 

part of the success of the design. 

CLT was specified not only for its 

wider environmental credentials, 

its aesthetic potential and its light 

weight, but also for its speed of 


BIG PICTURE 

1 2 

1 A language of planted trellises and 

woven hazel facades was used to merge 

architecture and natural landscape 

into a single, seamless environment 

2 CLT was specified for its wider 

environmental credentials, aesthetic 

potential, light weight, and its speed of 

assembly 

3 The new box office 

Images: Philip Vile 

3 

assembly. Using CLT allowed for 

construction within the six-month 

window between theatre seasons. 

Aesthetically, a language of planted 

trellises and woven hazel facades 

was used to merge architecture 

and natural landscape into a single, 

seamless environment, according to 

the architects. 

“Using a combination of unfinished 

and dark-stained larch for the external 

skins, the structures are already 

growing back into the landscape 

that envelops them,” said Haworth 

Tompkins Architects. “Throughout 

this long working relationship with 

successive artistic directors, the aim 

has been to support the growing 

theatrical capacity of the organisation 

while preserving the magical sense of 

entering a secret world at the centre of 

the London’s most elegant park.” 

A SUSTAINABLE MATERIAL 

AND CONSTRUCTION 

METHOD 

The CLT was manufactured in Austria 

by wood products manufacturer Stora 

Enso using spruce grown in sustainably 

managed forests. The glue-laminated 

timber (glulam) was manufactured 

by wood products supplier Pabst in a 

factory located close to Stora Enso. 

All the material used was certified 

by the PEFC, and a total of 130m 3 of 

solid timber was used in the walls, 

floors and roof of the building. According 

to PEFC, it takes seven minutes for this 

volume of timber to be replenished by the 

sustainably managed Austrian forests. 

Ninety-five tonnes of CO2 were removed 

from the atmosphere when the trees were 

growing and will be stored in the structure 

over its lifetime. 

For the duration of the assembly of the 

solid timber structure, a crane was used to 

offload and distribute the materials around 

the site. CLT and glulam were offloaded 

directly from lorries into position. With 

fewer deliveries coming to site there is 

improved safety at the site access as well 

as reduced pollution in the surrounding 

roads, further proof of the benefits of this 

offsite method of construction. 


BIG PICTURE 

Delivering ideal acoustics and warmth 

PROJECT: The Royal Academy of Music 

ARCHITECTS: ritchie*studio 

LOCATION: London, UK 

ACOUSTICS DESIGNER: Arup Acoustics 

WOOD FURNISHINGS: James Johnson 

PHOTOGRAPHY: Adam Scott 

The Royal Academy of Music unveiled its new 

and transformed spaces in 2018: The Susie 

Sainsbury Theatre, the Angela Burgess Recital 

Hall, five new percussion studios, jazz room and 

audiovisual control room, and 14 refurbished 

practice and dressing rooms. 

Hidden behind the listed facade of the Royal 

Academy of Music’s Edwardian premises, 

surrounded by Grade I- and Grade II-listed 

buildings and located within the Regent’s Park 

conservation area, two distinct performance 

spaces have been designed by ritchie*studio and 

seamlessly integrated within the historic site. 

Designed for both opera and musical theatre 

productions, the Susie Sainsbury Theatre 

sits at the heart of the Academy. Inspired by 

the curved shapes of string instruments, 

the 309-seat cherry-lined theatre has been 

acoustically refined to deliver excellent sound 

qualities. 

According to Ian Ritchie, founder of 

ritchie*studio, part of the studio’s research 

included “conceptual investigations exploring 

the nature of the human voice and how the 

warmth of wood could be exploited through 

understanding the design and manufacture 

of stringed instruments”. 1 For instance, the 

insides of a violin, when flooded by light, 

inspired spatial and interior ideas for the 

theatre and recital hall. More technically, 

wood was used to “tune the spaces and adjust 

sound reflection and diffusion by varying the 

walls’ surface depth and profile”. 


BIG PICTURE 

The lighting of the Susie Sainsbury Theatre 

deconstructs the traditional chandelier into an 

exploding theatre-wide galaxy of light through 

600 fibre-optic crystals. Within the old concrete 

walls, the theatre incorporates 40% more 

seating than previously through the addition of a 

balcony, as well as a larger orchestra pit, a stage 

wing and a fly tower. All seats have unimpeded 

views of the stage, while the larger orchestra pit 

allows for an expanded repertoire choice, from 

early to modern opera and musical theatre. 

Above the theatre, and acoustically isolated 

from it and all other buildings, the new 

100-seat Angela Burgess Recital Hall provides 

the Academy with a further 230m 2 space for 

recording, public concerts and masterclasses. 

Entirely lined in pale, lime-washed oak, an 

oculus floods the room with daylight and 

provides the space with a central focus. The 

recital hall has a footprint as large as that of the 

main stage, providing an ideal rehearsal space. 

Enhancing the Academy’s circulation routes 

and creating a visual and physical link between 

the old and new buildings is the recital hall’s 

new glazed lobby, which is primarily accessed 

from the main stairway dating from 1911, and 

by a glazed lift. The new light wells reveal the 

previously concealed Grade II rear facade, 

in which bricked-up windows have been 

reopened improving the ambience of many 

practice rooms. 

1 2 

These beautiful and acoustically amazing 

spaces can be accessed independently and, 

together with the existing David Josefowitz 

Recital Hall and Duke’s Hall, complete a 

suite of facilities for the Academy’s student 

body and teaching staff and for public 

performances. 

“The spaces are stunningly beautiful, acoustically 

brilliant and inspiring. They will raise the bar and 

challenge the students and staff in every possible 

form of music to reach higher and search further,” 

said Jonathan Freeman-Attwood, principal, Royal 

Academy of Music. 

References 

1. ritchie*studio. The Architectural Historian Issue 12, 2021. 

 

1 The oak-lined Angela Burgess Recital Hall 

2 The oculus floods the room with light 

3 Cherry-lined walls of the theatre to deliver 

ideal acoustic qualities 

3 


BIG PICTURE 

1 

1 The Arena Stage Theatre 

2 According to WoodWorks, the Cradle — a 

smaller theatre space within Arena Stage 

— was made with a poplar wood slat 

2 

system, designed “like a basket weave” 3 

Wood: A standout, 

cost-effective material 

PROJECT: Arena Stage Theatre 

ARCHITECTS: Bing Thom Architects 

(now Revery Architecture) 

GENERAL CONTRACTOR: Clark Construction 

DESIGN-BUILDER OF FACADE: StructureCraft 

STRUCTURAL ENGINEER: Fast + Epp 

LOCATION: Washington, DC, US 

PHOTOGRAPHY: Nic Lehoux 

In the sea of concrete and granite 

that people have come to expect from 

buildings in Washington, DC, a new 

structure showcasing wood stands out. 

When Arena Stage at the Mead Center 

for American Theater reopened in 

2010, it was reportedly the first 

modern structure then to use heavy 

timber components in the US capital, 

according to StructureCraft, who 

designed and built the feature facade 

out of elliptically-turned parallel strand 

lumber (parallam) columns and glazing 


BIG PICTURE 

members. It was also said to be the 

first project in the US to use an efficient 

hybrid wood and glass enclosure to 

envelop two existing structures. 

Parallam is made by bonding together 

“thin strands of wood” like southern 

pine, yellow poplar, Douglas fir or 

western hemlock that are “typically 

4-8ft-long”, and offers good connection 

strength and ductility due to its 

uniformity, not prone to splitting failures 

at connections like sawn timber or 

glue-laminated timber. 1 It also has 

strong insect resistance. 

The custom timber structure supports 

a 650ft-long curved cable-suspended 

glazed facade. Each of the 18 massive 

elliptically-turned parallam columns 

are tipped with a custom-shaped 

350lb, or approximately 159kg, 

casting and tilted at 4° from vertical 

axis. The 50-60ft-high columns not 

only support the suspended array of 

parallam glazing members, but also a 

500ft-long steel roof structure with 90ft 

cantilever. According to a statement 

by the architect, the parallam columns 

“have an elliptical shape to reduce their 

visual impact and are spaced 36ft apart 

so that the building still feels quite 

transparent”. 2 

3 

Although the timber-backed glass 

facade supporting a steel roof was a 

complex design, the decision to use 

wood was an easy one. “Like most arts 

projects, especially non-profits like the 

Arena Stage, the budget was very tight,” 

said Michael Heeney, a key member 

of the architectural team, Bing Thom 

Architects of Vancouver, Canada (now 

Revery Architecture). “We did not have 

money for finishes, so the structure had 

to be beautiful, and wood made perfect 

sense. Yet in the end, wood ended up 

doing triple duty. We used it to hold up 

the roof; we also used it to hold up the 

glass; and it provided the final finish for 

the space. Wood was very cost-effective 

in all three respects.” WIA 

References 

1. StructureCraft. Parallel strand lumber. 

2. Arena Stage. Architect’s statement. 

3. WoodWorks. Arena Stage – Innovative hybrid 

structure in DC. 

4 5 

3 Wood was used to hold up the roof, to hold 

up the glass, and to provide the final finish 

for the space 

4 Eighteen massive elliptically-turned 

parallam columns that support the glass 

structure 

5 The 50-60ft-high columns not only support 

the suspended array of parallam glazing 

members, but also a 500ft-long steel roof 

structure with 90ft cantilever 


MARKET REPORT 

CLT market to reach 

US$2.6bn by 2028: 

MarketsandMarkets 

According to a report by 

MarketsandMarkets Research, the 

size of the global cross-laminated 

timber (CLT) market is projected 

to grow from US$1.4bn in 2023 

to $2.6bn by 2028 at a CAGR 

of 13.7%. 1 The rapid growth of 

the housing and construction 

sector, increasing GDP, growing 

urbanisation, and increasing 

disposable income across the world 

will reportedly drive the CLT market. 

This market can be divided into five 

key regions: North America, Europe, 

Asia-Pacific, the Middle East & 

Africa, and South America. The US 

and Canada, among other countries, 

are leading the CLT market globally. 

ADHESIVE-BONDED CLT 

SEGMENT 

The production of CLT can be 

characterised by two types: 

adhesive-bonded or mechanically 

fastened CLT. Among these two, the 

use of structural adhesives or glues 

has been one of the “most significant 

technological advances” in modern 

engineered wood building, according 

to the report. These chemical bonding 

agents have assisted in the formation 

of structural goods that have low mass, 

high tensile strength, and minimum 

expansion and contraction owing to 

moisture retention. The adhesives used 

for bonding engineered wood have 

diverse chemical properties and are 

chosen depending on the end product’s 

specific needs. It has also become the 

standard for CLT and laminated veneer 

lumber (LVL) manufacturing. 

NON-RESIDENTIAL SEGMENT 

CLT has been used in the non-residential 

sector due to several advantages. It can 

be used not only as load-bearing panels 

for walls, floors, and roofs, but also for 

shear walls. CLT is structurally viable 

and can result in faster, less expensive 

projects that ultimately enhance the 

tenant experience. 

Additionally, CLT is a sustainable building 

material that can store carbon during 

the building’s lifetime and even capture 


ATTRACTIVE OPPORTUNITIES IN THE CROSS 

ATTRACTIVE LAMINATED TIMBER OPPORTUNITIES MARKET IN THE CROSS 

LAMINATED TIMBER MARKET 

MARKET REPORT 

additional carbon. The report states 

that because of CLT’s advantages in 

design and how it follows environmental 

requirements required in the office, 

public, institution and hotel segments, 

the non-residential building segment 

provides major prospects for CLT. 

All in all, using CLT in constructing 

non-residential buildings can reduce 

construction time and cost, all while 

providing structural integrity, sustainable 

credentials, and aesthetic satisfaction. 

EUROPE 

The major drivers for this market are 

the increase in awareness regarding 

the importance of CLT, as well as the 

rising industrialisation in the region 

after the economic slowdown. The 

European region has the highest 

number of manufacturers of CLT and 

is currently leading in production due 

to the presence of manufacturers 

such as Mayr-Melnhof Holz. Due to the 

adoption of strategies such as mergers 

and acquisitions and investments and 

acquisitions, further advancements in 

the market are expected. 

CLT itself has been in use for decades, 

particularly in this region. It is used 

by wood lovers to build single-family 

homes, as well as multi-storey, 

large-volume timber projects, according 

to MarketsandMarkets. Interest in the 

material is surging along with concern 

about the greenhouse gas emissions 

associated with concrete and steel. 

The production of construction 

materials such as steel, cement, and 

glass accounts for 10% of global 

energy-related CO2 emissions, 

according to a United Nations report. 

CLT and other engineered wood 

products, on the other hand, can 

improve the environment in three ways: 

Trees collect and store carbon as they 

develop; long-lived wood products lock 

in carbon; and these goods may be 

utilised in many circumstances instead 

of high-impact materials like concrete. 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

EUROPE 

Source: MarketsandMarkets 

EUROPE 

HIGHEST 

CAGR (2023-2029) 

Source: MarketsandMarkets 

AUSTRIA 

FASTEST-GROWING 

MARKET IN THE REGION 

CHALLENGES 

However, the overall CLT market has 

been impacted by the Russia-Ukraine 

war. Consequences of this conflict have 

been faced by all sectors, especially 

the construction sector. Due to a lack 

of labour and a hampered supply 

chain of raw materials, the CLT market 

saw a downward trend in this period. 

Consumers also stopped buying goods, 

which led to a decrease in demand 

and the manufacturers shutting down 

factories in response. 

More generically speaking, CLT also 

has a limited number of end-use 

industries, and each of them has 

different regulations for the use 

of these timbers, according to the 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

BY END USE 

2023 (USD MILLION) 

DRIVING FACTORS 

FOR GROWTH IN 

EUROPE 

Structural 

Non-Structural 

report. Manufacturers cannot alter 

the specifications of the CLT panel 

to comply with these regulations. 

Almost the same quality products 

are being provided to each of these 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

• Increased investments in building and construction 

• Presence of well-established and prominent manufacturers of 

cross laminated timber 

industries by different manufacturers. 

As such, there is no scope for product 

differentiation in the CLT market, 

which hinders the growth of the 

market globally. WIA 

References: 

1. MarketsandMarkets. Cross laminated 

timber market by type (adhesive bonded, and 

mechanically fastened), industry (residential, and 

non-residential), end use (structural, and nonstructural), 

and region (North America, Europe, 

APAC, South America, MEA) - Global Forecast to 

2028. 



Building green: 

Meeting the demand for 

sustainable solutions with 

sustainable design 

For a building to be sustainable, one must take into consideration all 

aspects of construction — from material choice and procurement, 

transportation, to location and design. Liza Morales, a designer 

specialised in sustainable design solutions, speaks about the 

importance and benefits of green architecture. 

By Yap Shi Quan 

What does sustainable design mean 

to you, and why do you think green 

architecture is important? 

Liza Morales: According to the 

Global Alliance for Buildings and 

Construction, the construction and 

operation of buildings is responsible 

for approximately 40% of global 

energy-related greenhouse gas (GHG) 

emissions. This includes emissions 

associated with the production and 

transportation of building materials, 

as well as the energy used for heating, 

cooling, and lighting buildings. 

In addition, the International 

Energy Agency reports that the 

building sector is the largest energy 

consumer in the world, accounting 

for approximately 32% of global 

final energy consumption. This 

consumption contributes significantly 

to GHG emissions, as the majority of 

the world’s energy is still generated 

from fossil fuels. The United Nations 

Environment Programme estimates 

that by 2060, the world’s building stock 

is expected to double, and therefore, 

emissions from buildings are projected 

to continue rising unless significant 

action is taken. 

Green architecture is important for 

the reasons stated above. Building 

more sustainable buildings can 

help reduce the carbon footprint of 

buildings and mitigate their impact 

on the environment. Second, green 

architecture can improve the health 

and wellbeing of people who use 

buildings by providing better indoor 

air quality, natural light, and access to 

nature. Finally, it can have economic 

benefits, such as lower energy costs 

and increased property values. 

Tell us about your career — what 

challenges have you faced, 

particularly as a Filipino woman 

architect in a men-dominated 

industry and foreign environment? 

Morales: The industry has long been 

dominated by men, and it is often 

challenging for women architects 

Liza Morales, 

designer and founder of 

Ecotecture Design Studio 



to be taken seriously and gain equal 

opportunities and recognition. 

One of the significant challenges I faced 

was breaking through cultural and 

societal expectations that often limited 

women’s roles in the construction 

industry. As a woman, I had to work 

extra hard to prove my worth and 

expertise, particularly to clients who 

were not used to working with female 

architects. 

Another challenge was balancing 

work and family responsibilities. As 

a working mother, I had to find a way 

to manage my time effectively to 

meet the demands of my career while 

also ensuring I spent enough time 

with my family. It was particularly 

challenging given the long hours and 

high-pressure nature of the industry. 

I also faced challenges in getting my 

ideas and designs accepted by my 

male colleagues and clients; I had to 

be assertive in presenting my ideas 

and ensure that my voice was heard in 

meetings and discussions. 

1 

However, despite these challenges, 

I persevered and established myself 

as a talented architect with a unique 

perspective on design and construction. 

Through determination, hard work, 

and talent, I was able to gain respect 

and recognition in the industry, paving 

the way for other women architects 

to follow in my footsteps. I hope to 

serve as an inspiration to young women 

architects in the Philippines and 

beyond, showing that with dedication 

and perseverance, it is possible to 

achieve success in a male-dominated 

industry. 

Why did you and your design studio, 

Ecotecture, decide to expand to 

Singapore? What business and design 

possibilities do you see in Asia-Pacific? 

Morales: First, Singapore has a growing 

demand for sustainable design solutions 

due to its limited land area, high 

2 

population density, and vulnerability 

to climate change. As a result, there 

are significant opportunities for 

sustainable design practitioners to 

make a meaningful impact here and 

contribute to a more sustainable future. 

Second, Singapore has set ambitious 

sustainability targets, such as reducing 

greenhouse gas (GHG) emissions, 

increasing renewable energy use, 

and improving energy efficiency. The 

government has implemented policies 

and initiatives to support these targets, 

providing incentives for businesses 

and individuals to adopt sustainable 

practices. This creates an environment 

conducive to sustainable design 

practices and presents a significant 

opportunity for designers to contribute 

to Singapore’s sustainability efforts. 

Third, there is a growing awareness and 

demand for sustainable design solutions 

among consumers and businesses in 

Singapore. Consumers are becoming 

more conscious of their environmental 

impact and are increasingly seeking 

products and services that align with 

their values. Businesses are also 

1 A restaurant in 

the San Vincente 

resort in Palawan, 

the Philippines 

2 The interior 

design of JB 

Music & Sports 

Flagship store in 

Mandaluyong 



recognising the economic benefits 

of sustainable practices, such as 

cost savings and improved brand 

reputation. This presents a significant 

market opportunity for designers 

like myself who can offer sustainable 

design solutions that meet the growing 

demand for sustainable products and 

services. 

What is the relationship between 

sustainability, creativity and artistry 

in architecture, and how does your 

creativity feed into green designs and 

vice-versa? 

Morales: Sustainable design requires 

creative and innovative solutions 

that integrate technical and aesthetic 

considerations while also addressing 

the social and cultural context of 

the project. All in all, creativity and 

artistry in architecture are essential 

to develop sustainable solutions that 

respond to the unique challenges 

and opportunities of each project 

and create buildings that are both 

functional and aesthetically pleasing, 

while also engaging people and 

contributing to the social and cultural 

fabric of the community. 

A brief look at your projects reveals 

you use a lot of wood in your designs. 

What about wood attracts you? What 

is the role of wood and wood-based 

materials in green architecture? 

Morales: I use a lot of bamboo in my 

projects for numerous reasons. First, 

bamboo is a fast-growing, renewable 

resource that can be harvested 

without damaging the environment. 

Unlike hardwood trees that take 

decades to mature, bamboo is one 

of the fastest-growing plants in the 

world, growing up to 91cm or 35in 

per day, and it can be harvested every 

3-5 years, thus making it a highly 

renewable resource. Additionally, 

it can grow in diverse climates, not 

requiring fertilisers, pesticides, 

or irrigation, which reduce its 

environmental impact. 

Second, bamboo is a durable and 

versatile material that can be used 

in various applications. Bamboo is 

stronger than many hardwoods, and 

it has a tensile strength that rivals 

steel. This makes it an ideal material 

for use in flooring, furniture, and other 

interior and architectural applications. 

Additionally, it can be processed 

into a variety of shapes, sizes, and 

textures, making it a versatile material 

that can be used in a range of design 

applications. 

Third, using bamboo in interior and 

architectural design can help reduce 

carbon emissions. It absorbs more 

carbon dioxide from the atmosphere 

than most trees and plants, making 

it an effective carbon sink. Using it in 

design applications helps sequester 

carbon from the atmosphere and 

reduce the carbon footprint of the 

project. 

What do you think is necessary for 

sustainable architecture in the long 

run? Do you think purely using woodbased 

materials is enough? 

Morales: Using wood and wood-based 

materials can be a sustainable option 

for architecture, but it should not be 

the only solution. While wood is a 

renewable resource and has a lower 

carbon footprint than some other 

materials, it is important to consider 

the source of the wood and ensure that 

it is harvested responsibly. Additionally, 

there are limitations to using wood, 

such as its susceptibility to fire, which 

can impact its suitability for some 

building types and locations. 

Therefore, sustainable architecture in 

the long run requires a multi-faceted 

approach that considers environmental, 

social, and economic factors and 

incorporates a range of eco-friendly 

materials and techniques to create 

buildings that are both functional and 

environmentally responsible. 

Use of eco-friendly materials: 

It is crucial to use eco-friendly 

materials that have minimal negative 

impact on the environment. This 

includes materials that are renewable, 

non-toxic, and energy-efficient. 

Energy efficiency: 

Buildings should be designed to use 

minimal energy by incorporating 

features such as passive solar design, 

efficient lighting, and insulation. 

Water conservation: 

Buildings should be designed to 

conserve water by incorporating 

features such as low-flow fixtures, 

rainwater harvesting, and greywater 

systems. 

Site selection: 

Site selection is an essential aspect of 

sustainable architecture. It is important 

to choose sites that are already 

developed or are located in areas with 

access to public transportation. 

Green spaces: 

Sustainable architecture should also 

prioritise the creation of green spaces 

that promote biodiversity and enhance 

the health and wellbeing of people and 

the environment. WIA 

The Tagaytay 

Weekend Home 

in Alfonso Cavite 

municipality 



Embracing nature 

in the city: The rise 

of wooden structures in 

urban landscapes 

By Sorelle Henricus, PhD 

For centuries, architecture has 

looked to nature for inspiration, from 

the stalactite-styled designs in the 

Alhambra to the nature-mimicking 

structure of Delhi’s Lotus Temple. But 

today, imitating nature is not enough. 

The climate crisis is looming larger, 

and it is time to rethink how humans 

and nature interact. Architects are 

no longer asked to create buildings 

that simply resemble nature. The 

challenge now is to design structures 

that engage and interact with the 

natural world around them. 

Around the globe, architects are 

rediscovering the beauty of building 

with wood. It is used everywhere, 

from homes and schools to hotels, 

theatres, and supermarkets. There 

is something comforting about wood 

— maybe it reminds of time spent 

outdoors, surrounded by nature. 

Are architects turning to wood to 

bring nature-inspired peace and 

rejuvenation back into everyday 

spaces? 

Triodos Bank’s new office in the 

Netherlands, blended with its 

surroundings, is an example of 

large-scale timber construction. 

The brainchild of architect Thomas 

Rau, this building was awarded the 

international BREEAM award in 

the commercial-post construction 

category. It was brought to life by 

EDGE Technologies and Triodos 

Bank, with design expertise from 

Ex Interiors and landscape architects 

Arcadis. Construction company JP 

van Eesteren joined forces with 

Derix Group, a timber manufacturer, 

to create the building’s wooden 

heart. This involved using 3,200m 2 

of cross-laminated timber (CLT) for 

the walls and 1,700m 2 of CLT for the 

floors. With a technique known as 

triple finger jointing, they crafted a 

structural framework made entirely 

of timber — a testament to wood’s 

creative and sustainable potential 

in construction.* The buildings of 

the Triodos Bank’s new office are 

designed with mindfulness for their 

natural surroundings. They are 

crafted to fit in rather than stand 

out. The construction matches the 

height of the local trees — a design 

choice made to avoid disturbing the 

flight pattern of bats in the area. 

These buildings’ interiors deepen 

the connection with the surrounding 

De Reehorst estate. Built from 

sustainable materials, the design 

incorporated 2,000m 3 of timber 

certified by Programme for the 

Endorsement of Forest Certification 

(PEFC). The buildings made use of 

glass to draw in natural light, which 

floods into the heart of the structure, 

creating a sense of openness. The 

The inside of Gaia has exposed timber and large windows to create an inviting space 



spacious rooms, teamed with 

exposed laminated timber trusses, 

cores, and floors, make for a contrast 

against the building’s muted colour 

palette, showcasing its timbercentric 

construction. It is a space 

designed to spark interaction and 

engagement between employees, 

visitors, and the public. 

A collaborative study between Stora 

Enso and the Technical University 

of Munich uncovered the health and 

wellness perks of wooden interiors. 

The survey, spanning multiple 

research areas, discovered that 

wood does wonders for stress levels 

and productivity.* Findings showed 

that being in a wooden environment 

helps lower cortisol, a major stress 

hormone and students were found 

to be less anxious in classrooms 

made of wood. Additionally, wood 

has many practical benefits. It 

maintains the right humidity levels, 

which can reduce allergens and 

limit the spread of bacteria and 

viruses. Coronaviruses were found 

to survive for a shorter time on 

wooden surfaces than on other 

common materials.* To further 

inspire research in this field, 

Sebastian Hernandez, building 

concepts manager at Stora Enso 

wood products, said: “[While 

underappreciated], building with 

wood [lowers] environmental 

impact — CO2 emissions can 

be reduced by up to 75% when 

compared to traditional processes 

with concrete and steel.”* 

1 

The PEFC safeguards forests 

by providing evidence of 

sustainable forest management 

through certification. It enables 

forest owners and managers to 

demonstrate the sustainable 

practices they apply in the forest 

meet both current and future 

generations’ needs. As the demand 

for certified forest products for 

2 

building grows, PEFC is exploring 

how the benefits of forests and wood 

in construction are linked. In a recent 

dialogue with PEFC, Juan Villarroel, 

CEO of the Forestry Association 

of Navarra, shared how engaging 

with forests can stimulate rural 

employment and create sustainable 

jobs centred around forest care and 

management. He proposed that the 

closeness to these lush landscapes 

can cultivate the environmental 

responsibility crucial for preserving 

vital ecosystems.* 



These effects have been the basis 

for the practice of shinrin-yoku, or 

forest bathing, a concept the Japan 

Ministry of Agriculture, Forestry, and 

Fisheries introduced in 1982. The 

idea is simple: intentionally spend 

time in forests to soak up positive 

effects. Researchers have begun 

to quantify the benefits of forest 

bathing to inform evidence-based 

medicine as being in a forest setting 

can lower stress hormones, slow 

heart rate, decrease blood pressure, 

and improve our overall mental 

wellbeing.* These health benefits 

add to the reasons to protect natural 

environments and continue to build 

sustainable ways for the future. 

PEFC added that wood, when 

responsibly sourced, is an 

extraordinary building material. It 

is quick to work with, beautifies any 

project, and does not require as 

much energy to produce as concrete, 

steel, cement, or glass. It is good 

for the environment and for people. 

Due to its ability to regulate heat 

and humidity, wooden buildings 

often need less artificial temperature 

control, making them comfortable 

places to be while also being kind to 

the planet.* 

Earlier this year, Gaia, a zero-energy 

mass timber building spanning 220m, 

was unveiled at Nanyang Technological 

University (NTU), Singapore with 

the goal of bringing people closer to 

nature. This PEFC-certified project 

was said to be the largest mass timber 

3 

building in Asia, which was the 

result of a partnership between RSP 

Architects and Toyo Ito. Its design 

used a modular timber frame system 

which meant that most components 

can be made off-site, speeding up the 

construction process and reducing 

the number of workers needed. Gaia 

is the eighth NTU campus project to 

be honoured with the Green Mark 

Platinum for zero energy. In a year, 

it emits about 2,500 fewer tonnes 

1 The brainchild of 

architect Thomas 

Rau is Triodos 

Bank new office in 

the Netherlands 

2 The buildings 

of the Triodos 

Bank new office 

are designed 

to fit in, rather 

than stand out, 

from the natural 

surroundings 

3 Gaia is a 

zero-energy mass 

timber building 

spanning 220m 

unveiled at NTU, 

Singapore 

4 PEFC-certified 

CLT and glulam 

were used for 

the beams and 

columns of Gaia 

5 Glazed skylights 

add a touch of 

nature indoors 

4 5 



of CO2 than a typical building. Its 

rooftop is decked out with solar 

panels, creating roughly 516,000kWh 

of clean energy annually. Its 

construction strategy used CLT for 

slabs and glue-laminated timber 

(glulam) for beams and columns. 

These materials supplied by Stora 

Enso are PEFC-certified. The inside of 

the building has exposed timber and 

large windows to create an inviting 

space. Glazed skylights add a touch 

of nature indoors. As NTU president, 

Prof Ho Teck Hua put it, “The building 

was designed to connect humans to 

their natural surroundings. Students 

and faculty benefit from the open 

spaces for study and collaboration.”* 

H10, a commercial real estate brand 

in Japan, has opened its latest 

building which taps into the natural 

appeal of wood. The H10 Umedia 

Chayamachi unveiled in Osaka in 

April, marks Nomura Real Estate 

Development’s third venture into 

this field. This building soars to 38m, 

offering over 2,187m 2 of floor space. 

Its extensive use of timber — on 

the first and second floors and in 

the building’s columns and beams 

— makes it stand out. Sumitomo 

Forestry provided these components, 

ensuring they met the Sustainable 

Green Ecosystem Council (SGEC), 

or PEFC Japan, chain-of-custody 

(CoC) standards, meaning that every 

piece of forest-based material used 

in the building can be traced back 

to its origins. As a result, the project 

has gained a PEFC CoC certification, 

the highest possible accreditation 

in this domain. With the objective 

of combining wellness at work with 

sustainable building practices, the 

building specifications met Japanese 

green building and energy rating 

schemes which satisfied design and 

performance standards, including 

Comprehensive Assessment System 

for Built Environment Efficiency 

(CASBEE) and Building Efficiency 

Labelling System (BELS). H10 

Chayamachi is curating tactile 

spaces for customers to get closer 

to nature to replicate the results 

of surveys showing increased 

happiness, productivity and 

creativity in greener office spaces.* 

Scientific research has begun to 

confirm that we can bring many 

of these benefits into our daily 

spaces by using materials close to 

their natural state, such as wood. 

While no building could replace the 

natural environment, the materials 

that create living spaces are at 

the core of our lives. Connecting 

closely to nature is the mission of 

biophilic architecture — a design 

principle that aims to connect the 

natural world by incorporating 

elements of nature.* As philosopher 

of architecture Gaston Bachelard 

suggests, each space inhabited for 

a notable length of time has a touch 

of home about it. 

As resources become increasingly 

limited, progressive cities are 

strengthening ties with nature. 

Biophilic Cities — a network of cities 

joined in the mission to infuse urban 

landscapes with more nature — 

champions the cause of integrating 

natural elements to improve urban 

living. Thirty cities are working 

towards a future where the health 

and wellbeing of city-dwellers are 

intertwined with practices that 

nurture and sustain both people and 

the environment. 

These buildings show how — with 

certification and design approaches 

— wooden construction can be 

sustainably accomplished to help us 

reconnect with nature. WIA 

Images for Gaia: Don Tan, Tan Hui Qin, 

and Eileen Tan 

Images for Triodos Bank: Bert Rietberg voor J.P. 

van Eesteren 

*References are available upon request 

“PEFC added that wood, 

when responsibly sourced, 

is an extraordinary building 

material. It is quick to work 

with, beautifies any project, 

and does not require as much 

energy to produce as concrete, 

steel, cement, or glass. It is good 

for the environment and for the 

people.” 

Sorelle Henricus 

PhD 


MATERIALS AND TECHNOLOGY 

Re-emerge pavilion: 

A collaboration between 

AA and Hassell 

In a collaboration at the heart of 

London’s Bedford Square, the Emergent 

Technologies and Design (EmTech) 

post-graduate programme at the 

Architectural Association (AA) joined 

forces with international architecture 

firm Hassell to create timber pavilion 

titled Re-Emerge. 

The EmTech post-graduate programme 

at the AA has a history in designing 

and creating structures and pavilions. 

And in 2021, this pavilion marked the 

first time since the pandemic that 

students could work together, fabricate 

and assemble a full-scale structure, 

according to Hassell. 

The Re-Emerge pavilion explores new 

design and construction technologies 

that repurpose materials which have 

completed their first lifecycle towards 

structural formations. The project 

addresses themes of generative design, 

material computation, large-scale 

fabrication and assembly technologies, 

emphasising the pavilion’s ecological 

impact from the early 

phases of the 

design process 

onwards. 

For this collaboration, Hassell 

gave the students the challenge 

to keep the carbon footprint of the 

project to a minimum and only use 

reclaimed timber. 

Xavier Kestelier, one of the heads 

of design at Hassell, said, “The 

students took on the challenge 

and decided early on to build 

the pavilion out of timber from 

reclaimed wooden pallets.” 



Re-emerge revives the tradition of 

building on Bedford Square as a 

collaboration between an academic 

programme at the AA and partners from 

the world of practice, to test ideas at 

scale and imagine new possibilities. 

Dr Elif Erdine, director of the EmTech 

programme, said, “This collaboration 

with Hassell demonstrates an 

illustration of how academia and 

practice can come together to discover 

novel solutions to spatial and material 

problems. With the support of other 

sponsors, BuroHappold Engineering 

and One Click, EmTech and Hassell 

explored new design and construction 

technologies for repurposing timber.” 

1 

She added, “As designers, architects, 

and engineers, we share the 

responsibility to maintain a mindful 

approach towards our environment 

while designing and building. Our 

mutual insight into how construction 

waste can be a resource has originated 

this research into repurposing timber 

for an outdoor structure that is 

lightweight, emphasising the project’s 

ecological impact from the early phases 

of the design process.” 

CONSTRUCTION WASTE IS 

USEFUL 

Wood is said to be inherently the best 

bio-fabricated and biodegradable 

material. It is renewable, resilient, and 

lasts for a long time. When a timber 

building is demolished after decades, 

it does not produce useless waste, but 

instead, generates reclaimed wood that 

can be reused and repurposed in other 

applications after disassembly, hence 

becoming part of the circular economy. 

Re-Emerge is created with Grade A 

reclaimed wood pallets, one of the 

most abundant reused timber elements 

in the architecture, engineering and 

construction (AEC) industry. Reclaimed 

timber pallets generally end up in 

landfill or burnt as fuel. Instead, 

their structural and morphological 

2 

capacities are explored and exploited 

in Re-Emerge. Reclaimed pallets have 

been collected from various timber 

recycling facilities in and outside 

London. 

Kestelier said, “For the last decades 

architects have focused on performance 

of buildings and minimising operational 

carbon in buildings. With the need to 

tackle climate change more urgently, 

we also need to look at embodied 

carbon. Re-Emerge was a great way for 

the students to start embedding this 

approach in their design.” 

STRUCTURE 

The structural system for Re-Emerge 

is comprised of volumetric timber 

diamond-shaped modules that are 

created by scoring and kerfing wood 

pallets. The diamond modules are 

organised into structural ribs, which are 

then assembled with lap joints, thereby 

diminishing the need for secondary 

materials in the joinery system. The 

system is said to sustain loads in 

vertical and horizontal arrangements. 

COMPLEXITY ARISES FROM 

SIMPLICITY 

“In this project we aimed to explore 

how complexity can arise from 

simplicity. This was adopted by the 

variable aggregation of similar modules 

that are formed by scoring and steambending. 

A further ambition of the 

project was to diminish the need for 



secondary materials in the joinery 

system, and this decision has led us to 

work with lap joinery throughout the 

structure,” said Dr Erdine. 

ENVIRONMENTAL ATTITUDE 

IS MAINTAINED IN ITS 

FABRICATION AND 

INSTALLMENT 

Lifecycle assessment (LCA) of the 

reclaimed timber planks employed for 

the construction highlights information 

for the preliminary design phase. 

Analysis of most plywood types used 

for external construction versus solid 

timber planks demonstrates that CO2 

emissions of plywood are higher than 

solid planks during the preparation 

stage. 

Dr Milad Showkatbakhsh, studio master 

at EmTech, said, “The employment 

of LCA in computational workflows 

as a design driver has enabled us to 

take into consideration CO2 emissions 

associated with the material itself, its 

origins, and transportation to site.” 

Eleana Polychronaki, studio tutor at 

EmTech, added, “There is also an 

app for visitors of the pavilion. The 

augmented reality (AR) app allows 

users to find out about the LCA of the 

pavilion, information on its design 

and fabrication processes, as well as 

various visualisation options, including 

a scaled AR projection of the pavilion. 

The app also shows the story of the 

reclaimed timber that is used for 

construction, where it came from, and 

what its first lifecycle was.” 

THIRD LIFE 

At the end of its second lifecycle, 

Re-Emerge will be disassembled. Part 

of the pavilion will be erected in the 

Hassell offices in London and part 

of it will be send back to the timber 

recycling facilities where it 

was resourced from. The ambition 

of Re-Emerge is to create a dialogue 

between the local timber industry and 

its by-products, and to demonstrate 

to the world that timber architecture 

can be created with construction 

waste, while maintaining a mindful 

approach towards our environment. 

The pavilion is open to the public on 

the corner of Bedford Square opposite 

AA until 25 Nov 2023. WIA 

1 Reclaimed timber pallets’ structural and morphological 

capacities are explored and exploited in Re-Emerge 

2 The structural system is comprised of volumetric timber 

diamond-shaped modules that are created by scoring and 

kerfing wood pallets 

3 For this collaboration, Hassell gave the students the challenge 

to keep the carbon footprint of the project to a minimum and 

only use reclaimed timber 

4 The Re-Emerge pavilion explores new design and construction 

technologies that repurpose materials which have completed 

their first lifecycle towards structural formations 

3 4 



Canadian wood elevates 

Nativ restaurant’s design in 

Pune, 

India 

Concept by 

Spaces and Objects 

We Experience 

(SOWE) showcases 

the impact of 

Canadian wood 

species in the 

transformation 

of Pune-based 

restaurant. 

1 

Nativ Restaurant — located in Pune’s 

suburb of Baner, India — underwent a 

transformation under the expertise of 

architects Shamna and Wojciech Stranc 

from Concept by SOWE, an international 

multidisciplinary design studio. This 

project showcased the integration of 

architecture, interior design, product 

design, and landscape design which 

resulted in a dining experience 

with Canadian wood products from 

British Columbia (BC) to elevate the 

restaurant’s ambience and aesthetic 

appeal. 

1 

Choosing the right materials was crucial 

to bring the architects’ vision to life, 

and sustainably harvested Canadian 

wood products emerged as the natural 

choice. Having worked with Canadian 



wood species from BC before, Shamna and 

Wojciech were familiar with its durability, 

sustainability, and aesthetic appeal. The design 

team collaborated with Canadian Wood India, 

benefitting from their expertise on different 

species and their applications. 

Canadian Wood India promotes BC, Canada’s 

wood products from sustainably managed 

forests. Working with the wood sector across 

India, the team educates about BC wood 

products through seminars, exhibitions, 

networking events and product trials. 

Douglas fir was selected for a variety of 

applications throughout the restaurant, 

including interior fittings, dining tables, chairs, 

and a staircase. The warm ambiance created 

by these solid wood elements added a touch of 

sophistication to the space, elevating the dining 

experience for the patrons. Douglas fir, known 

for its workability, has strength properties. 

The wood is said to dry rapidly with small 

dimensional movement and little tendency to 

split or crack. Due to its strength, Douglas fir is 

regularly used for building and construction with 

manufacturing applications including general 

millwork such as doors, windows, flooring, 

furniture, and cabinets. 1 

2 

1 The project 

demonstrates the 

advantages of 

biophilic design 

2 This is a dining 

experience with 

Canadian wood 

products from 

BC to elevate 

the restaurant’s 

ambience and 

aesthetic 

3 Douglas fir was 

selected for a variety 

of applications 

throughout the 

restaurant, including 

interior fittings, dining 

tables, chairs, and a 

staircase 

4 The Nativ restaurant 

exemplified the 

beauty of wood in 

interior design and 

architecture 

The outcome of the project is said to have 

exceeded expectations, with the furniture 

design and manufacturing quality garnering 

praise. The result blended creativity, innovation, 

and craftsmanship. The use of Douglas fir 

showcased its durability and highlighted its 

contribution to sustainable design practices. 

The project demonstrates the advantages 

of biophilic design, with the use of natural 

materials and plant features for an environment 

that feels healthy, relaxing, and creative. 

3 

The Nativ restaurant exemplified the beauty 

of wood in interior design and architecture, 

standing as a testament to the impact that wood 

can have on a space, setting the stage for future 

collaborations and design innovations. WIA 

References 

1. Canadian wood. Douglas fir. 

Images: Assad Dadan 

4 



Driving down 

the cost of entry 

into mass timber 

design 

Inefficient methods and insufficient education on 

mass timber design are making inexperienced 

engineers hesitant at building with mass timber 

elements like cross-laminated timber (CLT). Mass 

timber design software CLT Toolbox aims to eliminate 

the barriers to entry, as explained by Adam Jones, 

CEO and founder of the software company. 


1 

make timber design easier than with 

concrete or steel. In doing so, we are 

releasing major design bottlenecks to 

accelerate the adoption of mass timber 

in Australia, New Zealand, and gradually, 

the rest of the world. 

What are the features in the software, 

how exactly do they automate complex 

structural design computations for 

timber buildings? 

Jones: CLT Toolbox aims to be a 

one-stop shop for staying up to date with 

the evolving field of mass timber design 

with CLT design software. We bring 

together best-practice resources from 

around the world, and our calculations 

are third-party reviewed by timber 

specialists to ensure their accuracy. 

The software follows a rigorous review 

process to ensure the accuracy of the 

computations. 

Furthermore, the major requests from 

all engineers are for automated mass 

timber design software not to be a 

black box. Transparency is considered 

paramount given engineers are not 

taught at university. Engineers can follow 

the calculation processes and follow 

relevant references from the globe. CLT 

Toolbox also offers the ability to assign 

and discuss tasks, and hence engineers 

do not need to work in isolation. The 

platform also includes real-time supply 

chain data that can help engineers and 

fabricators to make informed decisions 

about the materials they use and the 

manufacturing process. 

What exactly does CLT Toolbox try to 

achieve? 

Adam Jones: Both the public 

and private sectors are making 

commitments on embodied carbon 

reduction targets. Mass timber is 

the logical alternative to traditional 

materials like concrete and steel and 

procurement methods. However, it is 

just too hard; there are several barriers 

to entry. 

CLT Toolbox aims to provide the 

infrastructure the industry needs to 

At the moment, CLT Toolbox has been 

released in Australia and New Zealand, 

but plans to be released to Europe 

shortly after. We will also be building 

the North American design codes 

into the software for a US release in 

mid-late 2024. We are currently building 

partnerships and relationships with the 

suppliers, who can also benefit from 

having the design infrastructure we are 

building in place. As such, we are acting 

as a conduit, being live software, to pass 



on real-time information about section 

size and grades availability. 

Can you elaborate on the kinds of 

barriers to entry for sustainable and 

mass timber design? 

Jones: When an engineer faces the 

question, do I choose concrete, steel 

or mass timber, there are different 

paths. 

The status quo is easy and simple 

because it is taught at universities and 

everyone is doing it, and you will not 

look silly in a meeting. 

Mass timber currently, conversely, is 

arduous. At the moment, engineers 

are building excel spreadsheets 

to complete their designs, but 

spreadsheets are inefficient for 

multiple reasons: First, every 

engineering firm is building the exact 

same spreadsheets, thus reinventing 

the wheel; second, spreadsheets 

have a big chance of being incorrect 

for engineers designing their first 

time; third, mass timber is an evolving 

field which makes all previous 

spreadsheets redundant; and lastly, 

spreadsheets are not a web-based 

app, and hence cannot be directly 

linked to the supply chain’s availability. 

As such, CLT Toolbox replaces the 

need to build excel spreadsheets for a 

building’s design. Rather than starting 

from scratch, engineers can build off 

the computation routines offered in 

the software. 

The software also aims to provide 

the education that has been missing 

in universities. I once wrote a white 

paper on this problem space, called 

“Addressing major bottlenecks for the 

adoption of timber in the emerging 

mid-rise market”. The finding was 

that engineers are spending about 

500 unpaid hours on their first mass 

timber jobs. This is the time spent 

learning mass timber design, building 

internal design spreadsheets, or 

learning the nuances of mass timber 

structural analysis. 

This defined the market problem CLT 

Toolbox is trying to solve, as it looks 

to drive down the cost of entry for 

engineering firms looking to design 

sustainably. The software is not a 

black box, so engineers can educate 

themselves alongside completing their 

first mass timber designs. 

Can you also elaborate on what the 

product roadmap for CLT Toolbox is? 

Jones: There is an evolving ecosystem 

in software for a fully automated 

stack. Part of this evolving ecosystem 

is parametric 3D tools that eventually 

plan to provide the design file utopian 

software stack. CLT Toolbox provides 

the mathematical infrastructure, with 

plans to use an application programme 

interface to plug into other software 

solutions. The software plans to be the 

best in the world at solving this specific 

problem for the design community. 

In your opinion, what do you 

think is necessary to make the 

built environment industry more 

sustainable? 

Jones: Global warming is one of the 

world’s major problems that can 

be solved through innovation and 

technology. Although the bounds of the 

future are inherently uncertain, we can 

maximise the potential of a positive 

future if we act proactively today. 

We plan to be a key part of the jigsaw 

puzzle that eliminates embodied 

carbon from the built environment for 

the betterment of humanity. But it is not 

easy. Operational energy can be solved 

with the sun — which is roughly 1,000 

times the size of Earth — whereas 

embodied carbon can be solved only 

with one times of Earth. Therefore, it is 

an order of magnitude more difficult. 

It is reported that the building and 

construction sector accounts for 

approximately 39% of global CO2 

emissions. Embodied carbon emissions 

from concrete and steel production 

contribute roughly 8-11% of total 

global CO2 emissions. This is in fact 

more than the cars on our roads. 

The construction industry therefore 

needs significant innovation. Mass 

timber can only represent a portion 

of the solution. Innovation needs to 

occur across concrete, such as with 

geopolymer cements, or steel with 

hydrogen used for virgin steel, to have 

a serious shot at the problem. CLT 

Toolbox plans to elevate all materials 

that contribute to our mission onto the 

software over time. WIA 

What a page of the 

CLT Toolbox software 

looks like 



TurboHawk 

mini-finger 

cutterhead: 

Flexible and 

quality CLT 

production 

The new generation of the Leitz TurboHawk mini-finger cutterhead for flat 

joints is suitable for use at speeds up to 6,000 rpm (Image: Leitz) 

Faster, higher, stronger: The new generation of the TurboHawk 

mini-finger jointing head from Leitz aims to achieve this motto, 

helping solid wood processors of cross-laminated timber (CLT) 

manufacturers to increase their productivity in the production 

process while ensuring sustainable production with its 

marathon-coated cutting edges. 

Increasingly powerful machine 

systems need the right tool for 

the job. When producing finger 

joints on a CLT panel, for example, 

users can increase the feed rate by 

increasing the number of teeth on 

the cutterheads, thus maximising 

the potential of said finger jointing 

machines. Furthermore, to ensure 

an ideal end product, the profiling 

should be flexible, the cutting of good 

quality, and the fitting accurate. 

To meet these requirements, 

manufacturer of wood processing 

tools Leitz has optimised the 

new generation of its TurboHawk 

mini-finger cutterheads. Increasing 

the speed suitability to 6,000 

revolutions per minute (rpm) 

was the primary objective when 

upgrading the TurboHawk, 

according to Leitz. With 14 teeth, 

users can also use the system in 

high-performance systems and thus 

increase their productivity in the 

overall production. In spite of this 

increase in performance, the cutting 

quality does not suffer at all; with 

its accurate profile precision, the 

TurboHawk can mill precisely fitting 

workpiece joints and also avoid 

troublesome finger breakages. 

To achieve this, Leitz engineers 

have developed the ideal balance 

between toughness and hardness 

of the cutting materials used by 

mixing high-performance highspeed 

steel and coated steel. 

The TurboHawk also allows for 

the processing of different wood 

thicknesses or species. Here, for 

example, CLT manufacturers can still 

be flexible due to the safe and simple 

changing of the knives. Each knife 

can be replaced individually and the 

marathon-coated cutting edges have 

a larger resharpening zone compared 

to the knives of conventional tools. 

This increases the tool life of the 

machines by four-fold compared 

to machines with Leitz’s standard HS 

mini-finger cutters. WIA 



Everything done right 

from an early stage 

Bachhof resort (Image: 

werbeFOTO HAASZ) 

For years, Haas Fertigbau has actively diversified in many fields of 

prefabricated timber construction in apartment construction. 

By Dr Joachim Mohr 

Haas Fertigbau — based in Falkenberg, 

Bavaria, Germany — started constructing 

apartments in the 2000s. Despite 

a slump in detached house market 

occurred last year, the company had 

alternative business areas to tap into. 

The construction of detached and 

semi-detached houses accounted 

for 60% of the annual turnover of 

Haas group, which totalled €250m 

in 2022. The remaining 40% annual 

turnover was generated by commercial 

construction, which was divided into 

areas of industrial and commercial 

construction, apartment construction 

which is currently experiencing the 

strongest growth, and the construction 

of agricultural buildings. Its managing 

director Xaver Haas said that the 

company is focusing on building “what 

it can and what makes sense” — that 

is, residential buildings with up to four 

stories that are energy-efficient and 

sustainable turnkeys. 

APARTMENT CONSTRUCTION 

ALLEVIATED THE EFFECTS 

OF THE DETACHED HOUSE 

CRISIS 

Both areas of apartment construction 

are on the rise and, in 2022, they 

helped to partially compensate for the 

slump in detached house construction 

— which amounted 30% for Haas. This 

development did not hit the prefabricated 

timber house company as hard as some 

competitors for other reasons too. 

For example, only half of the total 

700 prefabricated houses are built 

in Germany. The rest are produced in 

Großwilfersdorf, Austria, with some 

being sold in Austria, and some to the 

Czech Republic via a sales office in 

Prague. The decline in detached house 

construction was less severe in both of 

these countries compared to Germany. 



Nevertheless, the company still 

ensured that incoming orders did 

not stall in Falkenberg. The quality of 

products helped the company, with 

target groups that were interested 

in energy efficiency, sustainability, 

ecology and smart home technology. 

Against this background, QNG 

certification meant that public funding 

could be offered to those interested in 

construction through interest rebates, 

which was attractive given the current 

interest rates. This helped in the field 

of apartment construction when the 

detached house market reached its 

peak. 

1 

1 The flexibility of 

production at 

Haas is evident 

in the element 

heights 

2 Haas simulates 

production 

processes 

digitally before 

running over the 

actual machine 

twin 

3 The company 

still ensured that 

incoming orders 

did not stall in 

Falkenberg 

FLEXIBILITY INSTEAD OF 

EFFICIENCY 

The company invested in three stages 

of production under the pressure of 

increasing demand. In 2018, wall 

element production was automated at 

the Falkenberg site, a similar production 

line followed in Großwilfersdorf in 

2022, when the company converted 

its hall to enable a roof and ceiling 

element line in Falkenberg. At the top 

of the specification for WEINMANN 

— which designed and delivered all 

three production systems — was the 

demand for flexibility, which included 

options for future process steps. 

The management team wanted the 

production plant to reflect all areas of 

the company, including disciplines in 

house and commercial construction 

and agricultural buildings. 

2 

“We looked at the production systems 

from several competitors,” said Haas, 

“Optimised lines for prefabricated 

house production were geared toward 

efficiency. However, they could only 

produce detached houses with a high 

degree of standardisation.” 

The cycle times on such systems are up 

to 7mins per element, but at Haas, the 

cycles are slower at 30mins. Current 

changes in the market, however, 

meant that this reduction in efficiency 

3 



represented a gain for future viability 

due to increased flexibility. 

The flexibility of production at Haas 

is evident in the element heights. 

In Falkenberg, prior to automation, 

manual production was set to an 

element height of up to 3.11m. But 

today, elements with heights of 

1.5-3.5m can be produced. “High 

walls are standard in residential 

and commercial construction, since 

more building technology has to be 

accommodated in the floor and in 

suspended ceilings,” added Haas. 

High walls are also in demand for its 

spaciousness and elegant ambiance in 

commercial construction and modern 

detached house construction. 

4 

The height of the elements ranges 

from 1.2-12m long, at up to 50cm. 

The same applies to the maximum 

weight of 3.5 tonnes to clad these 

elements with gypsum plasterboard 

panels and run them through the line 

without any damage, for instance. Haas 

said that it was a challenge as nobody 

had done it before. “This is why we 

re-optimised these details of the line. 

WEINMANN found solutions to meet 

our requirements,” he added. 

The end result was said to be a win for 

both partners. With the pilot project, 

WEINMANN anticipated a development 

in timber construction that is a reality 

today. Haas Fertigbau acquired a 

production line that did exterior and 

interior walls for house and apartment 

construction, walls for commercial 

buildings, commercial and agricultural 

halls, facade systems and special 

components such as gables and jamb 

walls. The automated production line 

ran for most that were industrially 

feasible, except for a manufacturing 

facility next to a wall slot. 

OUTLOOK 

Haas simulates production processes 

digitally before running over the 

actual machine twin. With the use of 

Autodesk Revit, laser scanners and 

tachymeters, the company is ahead 

in its digitalised processes compared 

to the majority of commercial 

construction projects in Germany. For 

the production plant, the company 

is considering an extension with an 

automated plaster application and a 

panel processing centre to alleviate a 

potential bottleneck that could arise in 

certain processing configurations. 

Haas said that the weighting of the 

business areas will change for the 

future development of the company. 

“There will be a stronger shift 

toward apartment construction,” he 

added. 

“We will invest less in detached 

house construction and the quantities 

will even-out again. In the long 

term, the trend continues towards 

apartment construction.” WIA 

5 

4 Ammer (Image: 

Haas Fertigbau) 

5 Schertler (Image: 

Oliver Jaist) 


DESIGN 

Sanding with SCM 

A close-up look of the laser detail 

The dmc system t with 

laser engraving unit 

The market demands more than 

a wide-belt sanding machine 

working on a single flat surface. It 

requires the design product to be 

personalised, for the finishes to 

appeal texturally and visually. Most 

quality finishes by artisans are 

achieved using technology like saw 

cut, carving, 3D surfaces as well 

as varying brushing and texturing 

effects, resulting in sophisticated 

aesthetics. SCM, with its R&D, is 

said to pave the way for quality, 

efficient and flexible sanding. 

NEW DMC SYSTEM T WITH 

LASER ENGRAVING UNIT 

SCM showcased its dmc system t 

automatic sanding-calibrating machine 

at LIGNA 2023. This machine is 

accompanied with a CO2 laser unit 

suited to create 3D markings on 

wood flooring, wood elements, 

medium-density fibreboard (MDF) 

panels, fibre cement panels and solid 

surfaces. It reportedly increases 

productivity as the laser unit makes it a 

compact solution for any surface length. 

Further, it has a self-refilling technology 

created by global laser company EI.En. 

Known as a ‘never ending power’ as the 

quality of the laser beam is constant, 

the machine reloads with a cylinder 

that is replaced when the gas source 

runs out, making the sanding process 

uninterrupted. According to SCM, another 

advantage is its user-friendly graphic 

interface of the eye-M PC panel. It has 

three flexible working parameters which 

make it intuitive for operators to define 

marking levels accordingly. The machine 

also has a webcam installed, making 

machine monitoring in real time possible. 


DESIGN 

1 

2 

LASER AND SURFACE 

TECHNOLOGY 

With a speed of up to 3m/min and 

a dynamic ray system, SCM wood 

flooring machine is said to allow the 

operator to score carved surfaces, 

replicate wood grain and achieve 

geometrical and abstract patterns. It 

is also well-suited to machining fibre 

cement for walls and flooring, or for 

customising and veneering kitchen 

cabinet doors due to its laser engraving 

unit. Further, SCM’s sergiani 3d form 

3D laminating press provides relief 

marking before painting or polyvinyl 

chloride (PVC) plating on MDF panels. 

Hence, with its laser technology, one 

can veneer and customise materials 

such as Corian as part of a solid 

surface. The group’s sanding solutions 

can integrate with Superfici solutions 

for finishing, and others for panel 

pressing and veneering. WIA 

1 The laser unit can 

create markings 

on MDF and wood 

flooring elements 

2 The laser unit 

can also carve 

on fibre cement 

panels 

3 The new dmc 

system t can 

carve geometrical 

and abstract 

patterns 

4 Even specific 

images are 

possible with the 

laser engraving 

unit 

3 

4 


DESIGN 

New Innovus 

collection finds 

inspiration in nature 

1 All decors are 

available in 

decorative panels 

and laminates 

2 Sustainable solutions 

that are easy to 

mix and match for 

different projects 

3 Innovus products 

stand out for their 

antibacterial 

properties and easy 

to clean surfaces 

4 The collection 

was developed to 

bring performance, 

sustainability and 

affordable designs 

5 Unique and exclusive 

textures that aim 

to add value to all 

decors 

1 

Producers and consumers are experiencing 

a new reality. In recent years, the 

importance of rethinking one’s actions and 

lifestyles is reinforced. Everyday spaces 

have undergone a major transformation, 

brought about by changing emotional 

needs, the need to adopt a more informed 

approach to design and increasing 

environmental concerns. 

This paradigm shift is the basis for the new 

Innovus collection — matching our nature 

by Sonae Arauco, inspired by nature and 

culminates in the desire to bring a greater 

feeling of peace and tranquility to indoor 

spaces. It also represents a change of work 

to position Innovus as the brand of choice 

for decorative solutions. This is a fresh 

and balanced collection that responds to 

the challenges and needs of a sustainable 

future. 

“This collection is aligned with the essence 

of Sonae Arauco. At the root, the same 

motivation to develop a versatile product, 

focusing on sustainability, quality and 

bringing value to projects in residential 

areas, and public and commercial spaces,” 

said João Berger, Sonae Arauco chief 

marketing and sales officer. 

With over 220 decorative solutions, the 

collection introduces 40 new products. 

These include woods, such as Karlstad 

Oak, with the Flow texture and Gentle 

Maple, with the Spirit texture; fantasies 

such as the Fossil Brown stone decor or 

Canastra textile; and a range of unicolours. 

The soft touch of the surface allies with a 

more matte and modern appearance with 

the strength and performance required by 

demanding applications. 


DESIGN 

2 

3 

4 

5 

THE FOUR ASPECTS OF OUR 

NATURE 

“The new Innovus collection matches nature 

by exploring four different concepts that are 

part of our lives — emotional, sustainable, 

functional and social — and proposes a 

selection of decors and textures aligned with 

trends to inspire consumers,” said Michelle 

Quintão, Sonae Arauco marketing director. 

She added that their goal is to categorise 

through sensations that different decors 

transmit. She said, “Emotionally, there is a 

quest for elements with emotional benefits, 

appealing to the senses and promoting a closer 

connection with nature. In sustainability, 

we take a minimalist approach through 

proposals that result in a natural appearance. 

Functionality is present in multifunctional 

decors that are easy-to-match and provide a 

discreet and comfortable atmosphere. Finally, 

as social beings, we need products that 

reinforce the versatility and performance of the 

spaces that are part of our daily routines.” 

SUSTAINABILITY IS THE ESSENCE 

Sustainability was a strategy seen from the 

planning to the development stages. Some 

Innovus products incorporate incorporate 

over 70% of recycled wood, and all the 

raw materials used are said to come 

from sources that are either certified or 

controlled. Awarded with the Green Product 

Award 2022 for its decorative panels, the 

company commits to a more ecological 

future as its products launched each year 

assure the sequestration of around 

2 million tonnes of CO2. Based on a circular 

bioeconomy model, Sonae Arauco is said 

to create cosy and elegant spaces through 

sustainable and affordable solutions that 

are designed to inspire and to last. WIA 


DESIGN 

Redefining luxury 

hospitality with 

Clint Nagata 


Designer Clint Nagata eschews conventional notions of 

luxury in his hospitality designs, focusing instead on telling 

stories of a place’s culture and history, creating elegance 

out of meaning and authenticity. 

Clint Nagata, 

Founder and 

Creative Partner of 

BLINK Design Group 

Designer Clint Nagata and the studio he 

founded, BLINK Design Group, had a 

busy and fulfilling 2022. While overseeing 

multiple luxury resort and hotel design 

projects across numerous countries, they 

also scooped up regional and international 

accolades for their projects. 

Their Roku Kyoto resort, which is reportedly 

Hilton’s first LXR resort in Asia-Pacific, won 

the award for Best Guestrooms at Ahead 

Asia, and at the 42nd Gold Key awards for 

Excellence in Hospitality Design in the US, it 

was a finalist for the Best Luxury Guestroom 

and Best Luxury Lobby categories, among 

other awards. Another resort, the Regent 

Phu Quoc — a personal favourite of Nagata’s 

— made the finals for Best Luxury Resort 

at the Gold Key awards last year. This 

achievement is more impressive in hindsight 

since Regent Phu Quoc was built during the 

pandemic, where Nagata and his team could 

not travel to the site and had to rely on 

Zoom meetings to track the progress. 

For them to have garnered so many 

achievements, Nagata and his team seem 

to have figured out something integral 

about luxury hospitality design. 

PLACEMAKING 

Luxury travelling is back in full swing after 

the pandemic, and travellers are starved 

for bespoke experiences. What was once 

purely associated with luxury hospitality, 

that of opulence and indulgence, gave 

way to more curated destinations and 

packages. And the architectural and 

interior designs of such resorts and 

hotels play a part in the redefined luxury 

experience. 

It happens so that creating meaningful 

luxury designs is the specialty of Nagata 

and BLINK, and they do so through Nagata’s 

design philosophy of ‘placemaking’. 

“My design philosophy is to take both our 

clients and guests on a journey that tells the 

story of a place through a modern design 

lens,” he explained. “We seek to create 

striking interior-based designs that capture 

the spirit of the place through simplicity, 

balance, and proportion.” 

BLINK’s mission is to translate their clients’ 

visions into exceptional pieces of architecture 

inspired by travel experiences and cultural 

encounters. To do this, Nagata and his team 

listen closely to their clients on their choice 

of location, the site history, the community 

relationship and connection with guests — a 

time-intensive process, according to Nagata. 

For instance, when designing Regent Phu 

Quoc, Nagata and BLINK discovered a type 


DESIGN 

of wooden truss system special to 

Vietnamese architecture heritage, 

called the Bovi. They transformed this 

system into a motif or pattern, and 

worked it into the screens, carpets 

and accessories of the resort. 

One way in which Nagata and BLINK 

tap into a site’s culture is through 

material choice. For instance, they 

used oak to fashion Roku Kyoto 

because oak expressed a strong 

connection to Japanese architecture, 

but interpreted in a modern 

vocabulary. As for Regent Phu Quoc, 

they used teak for doors because of 

their durability, and oak everywhere 

else for its aesthetic quality and its 

ability to easily be stained to adjust to 

different colour palettes and moods. 

“Wood plays a vital role in 

‘placemaking’. As a material, it plays 

a critical role in relating to the specific 

characteristics of a place. Similarly, 

wood plays a critical role in creating 

luxurious tropical resorts,” said 

Nagata. He further mentioned that 

they try to use local materials, which 

helps with being sustainable since 

there is no need for the overseas 

transportation of raw materials. 

LOCAL IN DESIGN, 

INTERNATIONAL IN DEMAND 

With such a close attention to details 

and reverence for a place’s cultural 

and historical characteristics, Nagata 

and BLINK can enjoy limitless 

design possibilities not bound by 

geographical boundaries. In fact, 

the demand for Nagata and BLINK’s 

services is international. 

“We have had interest from clients 

looking to create extraordinary 

destinations not only in Asia but also 

in other areas like Middle East and 

Europe, as travellers continue to 

look for curated resorts and hotels 

that convey its place and its culture,” 

Nagata said. 

In response to such demand, 

BLINK recently expanded to Dubai, 

UAE, which is their fifth office after 

Singapore, Shanghai, Bangkok, and 

Tokyo. This expansion was influenced 

by their designing of the W Dubai – M 

Seyahi hotel in Dubai last year. At the 

port of Mina Seyahi — also known as 

The Port of Travellers — where the 

project was situated, Nagata and his 

team observed strong story elements 

of Arabic culture: From treasurechest-like 

bedside tables and white 

leather bed headboards with ribs and 

shapes inspired by swooping shape 

of the traditional Dhow boats, to 

fabrics with motifs drawn from local 

calligraphy and lights that resemble 

ancient lanterns of the Arabian Nights. 

The storytelling elements continued 

in the bathrooms via a calligraphy 

motif, with bold black and white 

colours to echo ink and paper. The 

bathrooms also featured a seating 

area, encouraging long bathing rituals 

and conversation. 

“We believe that the rich heritage of 

Dubai and the rest of the Middle East 

offers immense story opportunities 

that could be transformed into 

meaningful design.” 

SOLDIERING ON 

This, perhaps, is what it means to 

redefine luxury hospitality design: Not 

restricted by trends and tradition, but 

making luxury hospitality come alive 

with unique cultural elements — only 

achievable through thorough research 

and with sensitivity. 

Capping off the busy year for Nagata 

and BLINK was the International 

Design Confederation Singapore 

(IDCS) naming him as the Designer 

of the Year - Designers’ Choice. This 

award has recognised him as “one 

of the best in [the] industry”, for his 

ability to “[imbue] a space with an 

exciting personality that is at once 

familiar and fresh”, according to 

remarks by industry veterans. 

“More than a personal achievement, 

[the Designer of the Year award] was 

a tribute to my team who soldiered 

on relentlessly during the pandemic 

years, and clients who believed in us,” 

concluded Nagata. WIA 

Oak was used 

everywhere in Regent 

Phu Quoc 


DESIGN 

Japanese furniture: 

What sets its design 

and quality apart? 

Japanese craftsmanship is in vogue for its quality, precision and 

minimalism in design. Tapping into this popularity, HOW Furniture, a 

retailer of Japanese-made furniture, opened a showroom in Singapore in 

January 2023. Yap Shi Quan speaks to Rico Lin, the showroom owner, to 

understand more about Japanese furniture designs and their appeal. 

with simple elegance. This added value is what 

HOW Furniture would like to provide. Most of 

our products are made-to-order; we become 

the bridge between Singapore customers and 

Japanese furniture brands, and we provide 

suitable solutions with good quality, thus 

offering various options to local customers in 

Singapore. 

1 

What qualities of Japanese furniture do 

you consider when choosing the brands to 

feature in the showroom? 

Lin: Functionality is our first priority. We want 

our customers to find the right furniture that 

can match their daily routine. For example, 

for a family buying a dining table, the main 

purpose is to allow everybody to sit together 

and enjoy dinner after a day of work. 

However, different homes have different 

limitations, and different people will have 

different preferences. Sometimes a big family 

may prefer a round table to sit together in 

a limited dining room space; sometimes 

people require a thinner wooden table to 

increase the transparency of the dining 

space; sometimes people prefer walnut wood 

because it represents a sense of lifestyle 

We also consider durability when selecting 

brands. In Japanese culture we respect wood 

because it is grown in nature, and when we 

move the wood into our living space we respect 

it because it is a scarce resource. Therefore, our 

Japanese brands all have expertise in handling 

wooden materials, seasoned in maximising the 

durability of the wood. Ideally, if customers are 

able to do simple maintenance on the furniture, 

it can be used for decades and maybe passed 

onto future generations. 

How does your furniture selection exemplify 

the belief of, I quote, “home is a sanctuary 

where one feels safe and celebrates life’s ups 

and downs”? 

Lin: HOW Furniture was started in Hong Kong, 

and I am from Hong Kong as well. In the past, 

I stayed and lived in multiple countries when 

I was young. Home used to have only one 

meaning to me, which was where I grew up, 

where I always went back during long holidays. 


DESIGN 

From our brand philosophy, your home 

does not need to have any fancy furniture. 

Instead, it should have something or 

someone you are familiar with. Growing 

up, I have met different people and there 

are different challenges at work and in my 

life. Life becomes much more complicated 

and dynamic. You can choose to be super 

ambitious, or you can be a workaholic and 

work non-stop 18 hours a day to achieve 

your dream. Or your work might need you 

to keep travelling to different countries. No 

matter which five-star hotel or high-class 

service apartment you stay in, there might 

be a small corner in your mind that gives you 

a sense of safety, that belongs to you only. 

That corner can be the small bedroom you 

grew up in, or it can be where your loved 

ones wait for you. This place we call home 

will become your source of energy, and it will 

give you courage and power to be strong and 

ambitious. 

2 

And this is what HOW Furniture wants to do 

for our customers: We want to help them 

choose the furniture they like, that they will 

build their memories and life journey with. 

It is not only about how the furniture can 

help to live a better life; it is about how to 

appreciate the simple happiness in a life. 

In your opinion, what defines Japanese 

craftsmanship? 

Lin: Japanese craftsmanship is like an 

‘attitude’ of living. It is very different from 

the western furniture market, where famous 

furniture brands usually partner with 

different designers and come up with designs 

that integrate the designers’ language and 

thought. This is very different from Japanese 

furniture craftsmanship. In some of the 

Japanese furniture brands, the designer 

might not be well-known by the public even 

if they are a very famous designer within 

the industry. Japanese craftsmen prefer to 

craft some basic source materials into good 

quality products, and this is the value of 

Japanese furniture. 

The craftsmanship of Japanese wooden 

furniture is primarily focused on precision. 

This precision begins right from the design 

3 

concept stage. For instance, furniture makers 

consider how to achieve the desired furniture 

design during the production process and 

how customers will use the furniture from 

their perspective. Our hero brand, Hirashima, 

is a good example, taking two years to 

be launched from the design concept to 

the production of a prototype. As a result, 

Japanese furniture designs are relatively 

durable, and their design concepts and styles 

do not get outdated with time. 

Another indicator of high-quality is the 

F4 stars specification, which refers to the 

coating and glue used during production. The 

formaldehyde content in F4 star materials is 

even stricter than EU standards. 

1 The storefront of 

HOW Furniture’s 

showroom 

2 Japanese furniture 

makers typically 

consider how 

customers will use 

the furniture from 

their perspective 

3 Camphor wood is 

used for this drawer 

What is the culture of using wood like in 

Japan? 

Lin: The culture of using wood in Japan 

dates back to ancient times and is rooted in 

Japanese people’s reverence for nature and 

their culture of co-existing with it. In general, 

Japanese people have a philosophy of using 

all natural resources carefully and respectfully 

as a way of expressing gratitude towards 

nature, similar to how when they sit down for a 

meal, they express gratitude and appreciation 

for the food they are about to receive by 

saying “itadakimasu”. 

Japan has abundant wood resources 

compared to other countries, thanks to its 

vast forests and mountainous areas. Houses, 


DESIGN 

carts, boats, and other structures have been 

built using wood as the primary material. 

One interesting example is the construction 

of temples, where large wooden beams are 

used for the main structure. This is due to the 

abundance of natural resources as well as the 

belief that trees grown in the mountains are 

sacred and that spirits reside within them. 

Therefore, many temples use giant wooden 

beams for their main structure, and these 

beams have a special name: “daikokubashira”. 

Different regions in Japan use different types 

of trees to make these giant wooden beams, 

with keyaki, or zelkova, being one of the most 

famous. In the past, when temples needed to 

be repaired, Japanese people would gather all 

the strong men in nearby villages to transport 

giant logs to the temple while performing 

traditional cultural rituals along the way. 

The most commonly used wood species in 

Japan for furniture making are imported 

broadleaf trees such as walnut, white oak, 

red oak, white ash, cherry, and maple. These 

hardwoods are preferred due to their high 

hardness and strength, making them wellsuited 

for everyday use. However, domestic 

Japanese wood such as birch, Tamo ash, 

and cedar are also used for furniture making. 

Hinoki wood is commonly used for bathtubs, 

while Ginkgo wood is used for sushi chef’s 

cutting boards. These are softwood and have 

a lower hardness and wood grain quality than 

hardwoods. 

Despite Japan’s abundant forests and 

mountainous areas, domestic wood 

resources are becoming scarcer due to past 

mismanagement and the government’s 

tightening of forest policies. As a result, many 

raw materials for Japanese-made furniture are 

imported from other countries, while domestic 

wood is primarily used for building houses. 

Can you also share what the demand for 

Japanese-handcrafted furniture is like in 

Singapore and the South East Asian market? 

Lin: There has been a growing demand for 

it in Singapore and the wider South East 

Asian market. Japanese furniture is 

well-known for its minimalist design and 

high-quality craftsmanship, which aligns well 

Japanese furniture is well-known for its minimalist design and high-quality craftsmanship 

with the increasing interest in sustainable and this leads to them having a limited budget for 

functional furniture. Furthermore, the use of buying furniture. This creates a market for fast 

natural materials in Japanese furniture, such furniture with not-so-acceptable quality. Such 

as wood and bamboo, is also appealing to furniture looks good online at an affordable 

consumers who look for eco-friendly options. retail price. However, most customers will 

start to complain when they receive the 

There is a common mindset that Japanese product. Imagine this is your day-to-day 

furniture is usually small and only suitable for furniture. 

studio-type apartments. And we treat this as 

an opportunity to introduce different styles Even though this might be the market 

and sizes of furniture for suitable customers in majority, we want to offer what we believe 

South East Asia. 

in. The brands that we carry focus a lot on 

sustainability. For example, the Whisky 

Overall, I believe that the demand for 

Oak series reuse whisky oak barrels used 

Japanese-handcrafted furniture in Singapore in brewing Japanese whisky as the source 

and the South East Asian market will continue material, thus giving the wood a second life. 

to grow as consumers become more conscious 

about the materials and craftsmanship that go For HOW Furniture, we would like to build 

into their furniture choices. 

up a trend and allow our customers to get 

some great quality products — from a range 

What does sustainability mean to HOW of Japanese furniture to Japanese home 

Furniture, and what are your thoughts about accessories. It might not be the cheapest 

the current trend of fast furniture? 

in the furniture market, but it has the best 

Lin: Sustainability is vital for HOW Furniture. cost price (CP) value furniture that one can 

It is actually part of the reason why we started find. Our customers are able to enjoy good 

this brand in Hong Kong a few years ago. We quality furniture in their daily life. With 

noticed that it is getting harder for the younger basic maintenance, it can last for years or 

generation to have their own properties, and decades. WIA 



The PULO market 

ARCHITECTURE AND DESIGN STUDIO: 

a9a rchitects 

LOCATION: Zhengzhou, Henan, China 

AREA: 4,200m 2 

COMPLETED: 2022 

PHOTOGRAPHY: 

Arch-Exist, THE IDEAL LAND, TOPIA 

CHIEF DESIGNER: Jio Li 

DESIGN TEAM: 

Ariel Shen, Ling Wang, Kun Li, Yongjie Bian, 

Mingmin Yu, Chito Wang, One Chen and 

Xinrui Wang 

BUILDING BCD INTERIOR DESIGN: HÉZI 

LANDSCAPE DESIGN: H&A 

STRUCTURAL DESIGN: 

LuAnLu partner structure consulting 

CONSTRUCTION: Shanghai Zhenyuan 

timber structures engineering 

MATERIALS: Spruce solid wood, 

reinforced concrete and glass 



1 

2 3 

1 The sloping and flat roofs, partial two-storey 

buildings and accessible terraces create the 

contours of the PULO market 

2 Intentional planting becomes an important 

design technique for the landscape 

3 The architecture of the marketplace gives a 

sense of openness with the installation of 

light-transmitting glass 

4 The lighting at night provides an aesthetic 

appeal for people seeking a retreat 

5 Spruce wood was chosen as the 

material of choice 

Project overview: Community is a place for 

urbanites to reside and create memories. 

PULO market — created by a collective of 

architects known as a9a rchitects in China 

— integrates a variety of living functions to 

promote community interaction when urban 

development is being upgraded. 

Community commercial buildings 

and blocks: PULO market grows from a 

neighbourhood, with three independent blocks 

form a scale of the inner street. The cut line 

of the segmented block connects the people 

on both sides of the residential area and the 

park, with a traffic path connecting various 

functional blocks. Using box prototypes, 

modular and variable schemes are set for 

format planning, based on the business needs 

of different architectural styles. The space can 

also accommodate bars, restaurants and retail 

shops to meet the needs of residents. 

Wood, concrete and glass: Spruce wood 

was chosen as the material of choice and 

black steel pillars bring a cooler tone to the 

buildings. The interior roof is made of purlins 

and rafters are located in the same plane, 

and the exposed wooden frame reflects the 

structural beauty. The PULO market uses 

reusable wood, which is environmentally 

friendly and at the same time simpler and 

more modular in design to facilitate quick 

completion. The sloping and flat roofs, partial 

two-storey buildings and accessible terraces 

create the contours of the PULO market. 

Living with nature: The landscape is filled 

with trees along the street level, connecting 

the park with ginkgoes. The inner and outer 

streets are made of different ground materials. 

With limited land use, it is difficult to have 

greenery, so intentional planting becomes 

an important design technique for the 

landscape. The inner streets are fully paved 

with gravel which are permeable and porous, 



5 

4 

complementing the setting. The architecture 

of the marketplace gives a sense of openness 

with the installation of light-transmitting glass. 

During winter, the colours of the courtyard 

fade away, producing a snowy scene from the 

terrace roof. The lighting at night provides an 

aesthetic appeal for people seeking a retreat. 

Further, during holidays, the festive atmosphere 

impresses neighbours and city visitors with red 

lanterns, fireworks and a stunning moonlight. 

Conclusion: Whether it is chasing fireworks or 

enjoying a quiet slow time, PULO market brings 

people together with a comforting space to 

promote community. WIA 


FLOORING 

Digital printing 

technology 

for flooring 

JUPITER JPT-C: DIGITAL 

SINGLE-PASS PRINTING 

FOR FLOORING 

The ability to produce high-quality 

digitally printed flooring has become 

strategically important for the future 

of the global flooring industry. As 

such, Hymmen has invented and 

patented innovative technologies for 

the production and digital decoration 

of flooring. 

Digital printing continues to play a crucial 

role in the future of flooring as it can enable 

design flexibility and be applied to a range of 

materials, thus facilitating faster response times 

to market demands and trends while reducing 

material waste and process costs. 

From board feeding over primer, base 

colour, digital printing, top coating 

to the stacking of boards, Hymmen 

offers panel-based technology that 

provides commercial and technical 

benefits of digital single-pass printing, 

including flexibility, short changeover 

times and the individualisation of 

decors. Furthermore, the company 

offers solutions for both analogue 

and digital structuring, delivering 

embossed in-register textures with 

the Digital Lacquer Embossing (DLE) 

technology by Hymmen. 

The Hymmen digital printing solutions 

for the flooring industry aims to cover 

individual customers’ capacity needs 

and individual production processes. 

For instance, Hymmen offers a series 

of different line models JUPITER 

JPT-C, that caters to common 

production widths, from a single plank 

line of 1,400mm up to large-scale 

production of 2,100mm boards. 

Additionally, Hymmen is able to 

realise complete production lines 

with a single-source supply, including 

intelligent handling systems for the 

feeding and stacking of planks or 

boards. The JUPITER JPT-C printto-board 

lines provide the following 

features: design for 24/7 industrial 

production; high-precision continuous 

substrate conveyor for maximum 

register accuracy; printing speeds 

of 25-50m/min; Xaar side-shooter 

printhead technology with an optical 

resolution of more than 1,000 dots 


FLOORING 

1 Hymmen delivers complete lines for the digital 

printing of decor and structure 

2 The JUPTER JPT-C digital printer 

3 TThe JUPITER JPT-C covers width of 1,400mm up 

to large scale production of 2,100mm boards 

4 The high-precision continuous substrate conveyor 

for maximum register accuracy 

1 

per inch (DPI) by greyscale technology; 

intelligent mechanical and optical adjustment 

features for each printhead to try and ensure 

the highest possible colour stability and print 

quality; and finally, stable printing process 

due to automatic cleaning and extraction 

functionality. 

STRONG TECHNOLOGIES BY 

PATENT PARTNERSHIP 

To ensure that customers have access to the 

latest digital printing technologies, Hymmen 

and i4F have entered into an exclusive patent 

partnership to promote and develop a strong 

digital printing IP portfolio. 

Specifically, this new partnership gives i4F 

exclusive licensing rights for all Hymmen’s 

digital printing patents and technologies for 

flooring production, including Hymmen’s DLE 

technology. 

i4F is a group of companies providing patents 

and technologies dedicated to delivering 

optimal technologies to the global flooring 

industry, backed by what is said to be a 

robust patent protection infrastructure. i4F’s 

patent cluster concept (PCC) is a ‘pick-andchoose’ 

patent menu that reportedly offers 

licensees transparency and flexibility. One 

such cluster is dedicated to digital printing 

technologies. WIA 

2 

3 4 


FLOORING 

Head-end profiling 

of floorboards 

with Marinus 

Powermax 

Endmatcher 

The Marinus Powermax Endmatcher is designed 

for the head-end machining of tongue-andgrooves 

on floorboards, decking and cladding, 

able to produce fixed and variable lengths. 

Developed by Netherlands-based engineered 

wood processing machine manufacturer 

Marinus, the Powermax Endmatcher can cut 

to length, cut out defects, and do head-end 

profiling — all in a single pass of the wood panel 

through the machine. 

The machine is controlled on a user-friendly 

touch screen panel. Before the profiling takes 

place, the wood panel is brought to a stationary 

position, fixed sideways and clamped to an 

accurate reference surface above. This results 

in high profile accuracy, with no noticeable edge 

on the top of the boards when they are fitted 

together, according to Marinus. Furthermore, 

this clamping system, combined with two 

pre-cut aluminium backing blocks, prevents 

blow-outs and splintering. The mechanisms of 

the Endmatcher — for clamping, cutting, and 

profiling — are driven by Lenze servo motors, 

which are said to be suitable for applications 

that are high-performance and need precision, 

according to Lenze’s website. 

When feeding the wood panel into the 

Endmatcher, it is possible for the machine 

to cut out defects like knots or cracks. The 

operator must first mark out the defects using 

a luminescent crayon. After which, when the 

wood panel enters the machine, a sensor within 

it will detect and cut out the marked defects, 

including the crayon lines. 

The Marinus Powermax Endmatcher can 

not only profile tongue-and-groove, but also 

detect defects and cuts them out 

Because the wood panel travels lengthwise 

through the machine, it can handle long lengths 

and can produce head-end profiles on wood 

with variable lengths, from 450mm to more 

than 6,000mm, of variable thicknesses from 

8-50mm, and widths from 50-300mm — 

though it has an option of processing 500mmwide 

panels. It can also be set to produce fixed 

or round lengths. Up to 20 pieces per minute 

can be processed.WIA 


FIT-OUTS 

Sandra 

Weil 

store 

2 

1 Customers can 

discover different 

areas of clothes 

arranged amid 

the layers of 

wood and in 

niches. 

2 The semi-permeable 

walls made of local 

tropical wood allow 

views through and 

beyond the store, 

making the space 

feel larger 

3 When seen from 

outside, the 

interior glows as 

inner light passes 

through the wood 

lattice onto the 

sidewalks 

1 

3 

PROJECT INFORMATION 


Zeller & Moye 

LOCATION: Polanco, Mexico City, Mexico 

AREA: 60m 2 


CLIENT: Sandra Weil 

PHOTOGRAPHY: Moritz Bernoully 

Architecture studio Zeller & Moye 

designed the first store for the fashion 

label Sandra Weil in central Mexico city 

as a delicate composition of wood and 

copper. 

A structure of vertically arranged 

wooden slats clads the entire existing 

space like a dress to a body. The 

semi-permeable walls made of 

local tropical wood hide existing 

imperfection while allowing views 

through and beyond the store making 

the space feel larger. When moving 

through the store, customers can 

discover different areas of clothes 


FIT-OUTS 

arranged amid the layers of wood 

and in niches. The spatial wooden 

grid forms a continuous introverted 

space that oscillates between open 

and closed as one walks through it. 

With constantly changing sunlight 

— which partially enters the space 

through the permeable wood walls 

— the mood of the interior gradually 

transforms during the day. Likewise, 

the wood lattice filters out views from 

the sidewalk creating an intimate 

experience inside, where customers 

can try the clothes on without outside 

observation. 

The supplemental elements are 

realised in polished copper and are 

developed for the store. Dresses are 

presented on custom-made hangers 

of solid copper. Copper rails run inside 

the wooden walls, recessing the 

clothes between the wood slats, to 

maximise the walkable store area. 

A mirror-like copper side table 

reflects the surrounding store, while 

clusters of copper tube lamps hang 

from various points of the ceiling, 

evenly illuminating the space. 

When seen from outside, the interior 

glows as inner light passes through 

the wood lattice onto the sidewalks. 

Views into the store gradually unfold 

as one passes along the windows 

creating changing perspectives. WIA 

4 

6 

4 The spatial wooden grid forms a 

continuous introverted space that 

oscillates between open and closed as 

one walks through it 

5 Dresses are presented on custom-made 

hangers of solid copper 

6 The wood lattice filters out views from the 

sidewalk, creating an intimate experience 

inside, where customers can try the 

clothes on without outside observation 

5 


FIT-OUTS 

1 

Villa 

MKZ 

1 Each roof segment 

contained a space 

appropriately 

scaled for its use 

2 The main house 

had to weave 

around the difficult 

site conditions 

PROJECT INFORMATION 


Takeshi Hirobe Architects 

LOCATION: Minamiboso city, Chiba, Japan 

AREA: 1,254.1m 2 


PHOTOGRAPHY: Koichi Torimura 

ENGINEER: Akira Ouchi 

EXTERNAL WALL: Cedar mould concrete 

and exterior thermal insulation 

INTERNAL WALL: Cedar mould concrete 

and cedar siding dyeing 

CEILING: Exposed concrete and 

roofboard dyeing 

FLOOR: Stone and walnut flooring 

FURNITURE: Basswood with 

kneading dyeing 

The footprint of this vacation home 

dances around complex conditions of 

the site. Although the site is situated 

overlooking an ocean view to the 

south-east, there is an elevation 

gap of about 1.4m in the centre 

2 


FIT-OUTS 

3 

around an outcropping of bedrock 

and an unbuildable area cutting into 

the property on the street side. By 

necessity, the detached building houses 

a two-car garage and a guest room, 

which is situated on the east side — 

where the elevation gap is smallest. 

However, the client requested that the 

main house weave around the difficult 

site conditions. 

At the first client presentation, a 

plan of interconnected triangles was 

proposed. But this design was not 

rigidly fixed. The approach allowed for 

the forms to be adjusted by ‘pinching’ 

the roof peaks as a more detailed plan 

is developed. Continuing the design 

process, the peaks were gradually 

adjusted in response to the client 

requests regarding the interior, so that 

each roof segment contained a space 

appropriately scaled for its use. The 

architects’ Phase Dance project in 2019 

employed a similar approach dubbed 

‘modal planning’ — a flexible method 

that allows us to vary the scale of 

spaces according to how they are used, 

instead of controlling the overall form 

through a geometric principle. 

The roof slabs, which amplified the 

triangular shapes of the footprint, are 

supported by polygonal columns that 

vary in form throughout the home, and, 

in places, by bearing walls. Interior air 

volume requirements determined the 

rhythm of the slabs and the volumes of 

the spaces they enclosed. Rooms facing 

the sea connected to one another, 

twisting to the east and west to create a 

sequence of spaces. 

4 

5 6 

3 The roof slabs 

amplify the 

triangular 

shapes of the 

footprint 

4 Parameters 

such as the 

relationship with 

the landscape, 

the size of the 

rooms, and the 

volume of the 

spaces were 

freely varied 

5 Rooms facing the 

sea connected 

to one another, 

twisting to the 

east and west 

to create a 

sequence of 

spaces 

6 Interior 

air volume 

requirements 

determined the 

rhythm of the 

slabs and the 

volumes of the 

spaces they 

enclosed 

By manipulating the complexity 

of interlinked free-form triangles, 

parameters such as the relationship 

with the landscape, the size of the 

rooms, and the volume of the spaces 

were freely varied. The result is a 

natural interior scale and a sense of 

affinity between the buildings and the 

site.WIA 


EVENTS CALENDAR 

2023 2024 

BEX Asia 

06 – 08 

Singapore 

SEPTEMBER 

MARCH 

The Big 5 Saudi 

03 – 06 

Riyadh, Saudi Arabia 

Project Qatar 

27 – 30 

Doha, Qatar 

MAY 

FIND Design Fair Asia 

21 – 23 

Singapore 

52nd CIFF Shanghai 2023 

05 – 08 

Shanghai, China 

OCTOBER 

Workspace Design Show 2023 

11 – 12 

Amsterdam, Netherlands 

NOVEMBER 

China Yiwu International 

Forest Products Fair 

01 – 04 

Zhejiang, China 

DECEMBER 

The Big 5 Global 

04 – 07 

Dubai, UAE 

Cairo Woodshow 2023 

07 – 10 

Cairo, Egypt 

Dubai WoodShow 

05 – 07 

Dubai, United Arab Emirates 

53th CIFF Guangzhou 2024 (Phase 1) 

18 – 21 

Guangzhou, China 

53th CIFF Guangzhou 2024 (Phase 2) 

28 – 31 

Guangzhou, China 

Salone del Mobile 

16 – 21 

Milan, Italy 

APRIL 

JUNE 

INDEX Dubai 

04 – 06 

Dubai, United Arab Emirates 

South China International Industry Fair 

19 – 21 

Shenzhen, China 

Design Shanghai 

19 – 22 


Sylvawood 

27 – 29 


JULY 

Archidex 

03 – 06 

Kuala Lumpur, Malaysia 

Bex Asia 

04 – 06 

Singapore 

SEPTEMBER 


ADVERTISERS’ INDEX 

ADVERTISERS’ INDEX 

Advertiser 

Page 

Advertiser 

Page 

American Hardwood Export Council 

OBC 

PEFC International 55 

American Lumber 9 

Softwood Export Council 1 

Baillie Lumber 7 

Technik Associates, Inc 

IBC 

Kuang Yung Machinery Co.,Ltd 11 

Wood In Architecture 64 

Panels & Furniture Asia 

IFC 

Scan to download 

WIA Issue 2, 2023 ebook 

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Find them on www.panelsfurnitureasia.com 

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